Pro Audio MEA January–February 2017

LEADER

The New Year’s resolution here at Pro Audio MEA is to put more of a focus on our digital offerings. While we have had a variety of digital products over the years, from our website and newsletters to our social media presence, we will now be doubling our efforts to make sure we reach you via the platform you want.

You can now follow us via the Pro Audio MEA handle on Facebook, while on Instagram, Twitter and LinkedIn we are joining forces with our sister titles Pro Audio Asia and Worship AVL under the Pro Audio Central umbrella. You can expect to see content tailored to these different platforms and updates from our visits around the region.

Social media is only one part of our strategy. You may have seen us carrying video equipment around various regional and international tradeshows. The result of this plus some shorter clips from site visits can be found on our Pro Audio Central YouTube channel as well as on our website.

Importantly our good old printed magazine is also part of this strategy. As you will know we have been producing our digital edition for many years. In fact, we have an archive of these editions going back to 2010. This ever-growing archive is now available through our website, so if you’ve missed an issue, wanted to refresh your memory on an older project or simply wanted to delve into the history of the pro audio industry in the Middle East and Africa it is all there for you to search and read wherever you are. This strategy is by no means set in stone. While we have our plans for what we want to achieve, this needs to be guided by you and we are always open to your suggestions. Just get in touch to tell us what you think.

Whatever platform you are using to read this, enjoy the magazine!

Richard Lawn:

T: +44 1892 676280

F: +44 1892 676282

GENERAL MANAGER rlawn@proaudiomea.com

Sue Gould:

T: +44 1892 676280

F: +44 1892 676282

ADVERTISING DIRECTOR sgould@proaudiomea.com

EDITOR – WORSHIP AVL fwells@worshipavl.com

Adrian Baker:

T: +44 1892 676280

F: +44 1892 676282

PRODUCTION MANAGER abaker@proaudioasia.com

Nick Smith:

T: +44 1892 676280

F: +44 1892 676282

DIGITAL MEDIA MANAGER nsmith@proaudioasia.com

Carolyn Valliere:

T: +1 562 597 1534

SALES ASSOCIATE cvalliere@proaudioasia.com

Damian Calderbank

T: +971 (0) 52 230 2882

CORRESPONDENT dcalderbank@proaudiomea.com

Raymond Boey:

T: +65 6457 2340

F: +65 6456 2700

SINGAPORE OFFICE rboey@proaudioasia.com

Marne Mittelmann:

F: +65 6491 6588

CIRCULATION circulation@proaudioasia.com

Protec delivers for canal opening

UAE: Italian company Prodea called on the services of Protec for the recent opening ceremony of the Dubai Water Canal. Protec met the audio, visual and lighting needs for multiple areas during the event.

‘We provided an audio solution for several areas over the canal site, including the main opening ceremony, a pre-function area in which there was live entertainment, a walkway between the two and the legacy activation zone at the end of the canal,’ explained Protec audio engineer, Dan Dignan who covered the opening ceremony. ‘All areas local to the main grandstand were was from one desk, allowing us to redundant. We supplied timecode to several areas at FOH and backstage, and also supplied outputs for comms (Delta Sound), OB (Seven Productions) and translation (DLC Events).’ inventory. The main stage area featured an L-Acoustics K2 main PA

with 12 cabinets per side. Low end was via 12 of the manufacturer’s SB28 subs while six 115XT HiQ were on stage as monitors. Power for the solution was via 18 L-Acoustics

SD Rack and SD Mini was called into action for mixing duties at FOH alongside a pair of Bose L1 cabinets. The system also used a

network was from Optocore with DD32R and a pair of X6Rs. Finally, systems were also deployed.

The pre-function area which was looked after by Protec’s Tim Allison also used an L-Acoustics solution. This zone was served by 12 of the manufacturer’s 8XT cabinets with a further six 5XTs which were

The solution for this zone also included an Optocore X6R, a Shure

IEM transmitter, an Allen & Heath

The walkway joining these two

zones also merited its own sound system. This space was served by four L-Acoustics 5XTs powered by an thanks to an Optocore X6R. Further down the canal, the legacy

area provided another space for Protec’s audio HOD Ed Ross to cover. L-Acoustics was once again the solution of choice, but this time Protec turned to its Kara and Arcs cabinets. The company deployed 12 Kara with four Arcs Wide and the same number of 12XTs. Low end was catered for by a pair of SB28s while power came from six

SD11i console with the setup completed by a Mac Mini.

‘At legacy we provided a system to cover a large area around a sculpture, which was done effectively with Kara and Arcs,’ furthered Mr Dignan. ‘We also

provided Qlab which ran the show and timecode which triggered LX,

by Protec was the postproduction setup. This was based around Pro

studio monitors and a Sound Devices USBPre 2.

ensured that Protec were not alone in providing technical solutions and Mr Dignan believes the various teams combined well. ‘At the end of the day when it comes to a tech level we are all friends, there is no politics when we are on site,’ he observed. ‘Everyone understands why they are there and what their role is and everyone is there to help everyone else.’

With the opening ceremony successfully completed Mr Dignan is job. ‘The show was smooth, our client was happy and I feel we worked to a very high standard on all aspects of the gig, from appearance the site. The show itself wasn’t a challenging one for us but everything done before made everything on the night very easy.’

www.productiontec.com

The canal opening ceremony saw spectacular performances at the main stage

Dan Dignan covered the opening ceremony

12 K2 per side were used at the main show

Protec supplied the audio, visual and lighting equipment

The main stage setup

A DiGiCo SD10 was used at FOH

Touring

and install. It‘s simply your sound.

ShowMatch gets global debut in Dubai

UAE:

SOUTH AFRICA:

www.bluearray.co.za www.digico.biz www.dwrdistribution.co.za

WORLD:

Dubai’s

as a pro.bose.com

Camco joins L-Group

www.camco.de www.l-acoustics.com www.l-group.com

Dubai’s Hard Rock Café has

Hard Rock Café

Fuat Koro director of global sales and marketing for Bose

A set of four Bose SMS118 subwoofers also were installed on both sides of the stage

RoomMatch Utility 208 loudspeakers providing under-balcony fills

Following the purchase, the console has already been put to use on an international show

Hervé Guillaume, Reiner Sassmann, Joachim Stoecker and Christian Heil

Two Bose ShowMatch six-module arrays are configured from a T-bar frame and suspended from a single pickup point

Samsung to acquire Harman

WORLD: Samsung Electronics has to acquire Harman International Industries for US$112 per share approximately US$8 billion. The market. for approximately 65 per cent of sales. Samsung made this sector that the combined strengths of the companies makes for a compelling proposition. The companies technologies, as well as its longterm relationships with most of mobility, semiconductors, user experience, displays and its global

distribution channels.

‘Harman perfectly complements Samsung in terms of technologies, products and solutions, and joining forces is a natural extension of

Electronics. ‘Dinesh Paliwal is a

strong senior leadership team and the major factor in the deal, there are also other sectors which the combined companies will look to

Are your affairs in order?

UAE: The tragic and untimely death of Delta Sound Dubai operations manager Claire Ferguson in July 2016 had a profound effect on the company as well as the wider industry. Coping with the personal and professional loss has been Sound, but it has also highlighted member of the industry needs to consider.

Sound MD Andy Jackson. ‘Dealing

ones became the priority, as plans were made to repatriate Claire back that came to light, was that Claire family were quickly realised.

‘It struck me that as a company; most of our staff were quite unaware of the consequences particularly in the expatriate

‘For me, it became a personal crusade to the point where we share their knowledge and make it comprehensible for our cross

Mr Jackson is determined to

ensure this message is heard. ‘I

for any of our employees who wants had their affairs in order, should the

But this is not just a message for the team at Delta Sound. Mr Jackson is keen to stress how think that people in the industry the right repatriation plans in place,

brands and audio capabilities and

integrated, large-scale audio and stadiums, concert facilities and other performance centres.

in this space. More broadly, this

Mr Jackson is determined that ‘I want people to learn from this

www.deltasound.ae

complete portfolio of consumer and professional products and systems.

A/V market the deal is expected to business-to-business platform

‘This compelling all-cash opportunities for our employees as Dinesh Paliwal, Harman chairman, president and CEO. ‘This transaction complementary strengths

well as our success and leadership across our markets. We look forward to working together with

When the deal closes, Harman will operate as a standalone Samsung subsidiary, and continue to be led by Dinesh Paliwal and its current management team. Samsung force, headquarters and facilities, as well as all of its consumer and professional audio brands.

the employees of both companies. The transaction, which is and other customary closing conditions, is expected to close in www.harman.com www.samsung.com

PM10 test drive ensures Rama Katha comes to Abu Dhabi

UAE:

attracted around 10,000 people in total and as such it required a professional sound system to ensure

To meet this need Artaaj turned to A/V rental house, Abacus Audio Visual LLC. In turn, the rental company deployed a Yamaha which was supplied through the comprised the CS-R10 control surface with the DSP-R10 DSP engine and the RPio622 I/O rack

256-channel TWINLANe network I/O

Series, our sound engineers were able to quickly work their way processing power and routing of Abacus production manager, Shaam clean sounding performance as management companies in the info@thomsun.ae to schedule a demonstration of the console at the Yamaha Commercial Audio Center in Ibn Battuta Mall, Dubai, or to book it

www.thomsunmusiconline.com

www.yamahaproaudio.com

Rama Katha in Abu Dhabi was organised by Artaaj Events

The PM10 was used by Abacus Audio Visual as a test drive

Claire Ferguson

Mark Brown – 1956-2016

UAE: The Middle East’s entertainment industry has lost one of its biggest characters with the passing of eclipse Group founder and chairman, Mark Brown. He died following a short battle with cancer on December 14th 2016.

Mark Brown was a businessman with a passion for the professional audiovisual, events and entertainment industries, and an enduring love for lasers. He began his varied career by founding Tangerine Productions in the 1970s, where he provided mobile discotheques and touring lasers. In 1985, Mark recognised the potential of the then relatively new laser took on the role of managing director, and later became the sole shareholder. During the 1990s he was heavily involved with the design and development of a number of award-winning products including the Starlaser, alongside Martin Lubach of Tasco and Starlight Technology (now general manager of eclipse

Al-Majlis opts for Etere

KUWAIT: The National State Assembly of Kuwait’s television channel, Al-Majlis, has opted for solutions from Etere to manage its playout and MAM systems. The broadcaster has selected

Media Management, Ingest, CAL, STMan and Master Control systems.

According to the manufacturer,

the Prisma controller. With the turn of the millennium came the Following advice from close friend and regional move to the United Arab Emirates, opening Following a successful three years of trading, and eager to provide a more varied service, Mark opened eclipse Staging Services, and consequently founded the eclipse Group of companies.

Mark grew the eclipse Group by both strategic acquisition and by recognising gaps in the market such as with the purchase of Nocturnal & Production (now Flair Event Services) in 2013. In 2014, Mark and the group began eclipse Venue Services, a division dedicated to providing in-house technical services to the

hotel and venue market. This was followed by the recent establishment of eclipse Installations targeted at the permanent install market. His achievements and the contribution he made to the local industry were celebrated in 2015 when Mark was awarded the Outstanding Contribution to the Middle East’s Event Industry award at the Middle East Event Awards. ‘eclipse has lost its founder, a crazy entrepreneur with an infectious personality and quirky way of being that very few people could fail to like, and all of us feel that loss deeply today,’ commented eclipse Group CEO, Simon enough to know and work with Mark closely have lost a dear friend and leader. Mark leaves behind a company that only he could have built, and his personality will forever be part of the foundations of eclipse.’

www.eclipse.ae

tool empowers Al-Majlis to make ‘strategic broadcast programming decisions with advanced planning’. Likewise the STMan graphics processor ensures Al-Majlis is able

from scheduling and media asset management databases.

Etere’s installation at Al-Majlis board, an Imagine Communications Platinum router and a Grass Valley router as the manufacturer’s solutions are reportedly able to support third-party integrations with

www.etere.com

Time to Huddle

WyreStorm introduces its complete collaboration and control solution - its about time.

Imagine entering a meeting room, scanning a simple QR code on a wall or desk with your smartphone or tablet and in less than 30 seconds having full control of the room and all its technologies to begin your meeting.

WyreStorm will let you do just that with a line of AV distribution, collaboration and control products for huddle, meeting and conference rooms that make sure precious meeting time isn’t wasted configuring the room.

eclipse founder and chairman, Mark Brown

SOUNDBITES

SOUND CREATIONS AND HOMEBOYZ DELIVER

KENYA: Koroga Festival is an event staged by Capital FM 98.8 at Nariobi’s Arboretum Gardens. The recent 14th edition coincided with the radio station’s 20th birthday.

To provide the technical equipment at the festival, Sound Creations Limited partnered once again with rental company Homeboyz Entertainment Ltd. Delivering sound

Sennheiser helps Dubai to Hear the People Sing

across the world. They are chosen by sound designers internationally due to their high quality, consistency and reliability both sonically and technically. We travel with our own sound system including a large quantity of Sennheiser radio mics as our set up time is very tight and we need to be able to plug-in and go.’

UAE: An extensive Sennheiser inventory was called into action for the recent three-week run of Les Misérables at the Dubai Opera House. The production toured with Sennheiser microphones, headsets, transmitters and antennas supplied by Australian company, System Sound.

‘Musicals of this calibre would tour with the majority of the equipment required for the show,’ explained Shelly Lee, associate sound designer for Les Misérables. ‘This includes the Sennheiser radio mics which have for many years been an industry standard in musical theatre

For the Dubai production, performers were equipped with SK 5212-II bodypack transmitters linked to 20 Sennheiser EM 3732-II series receivers. A wide range of Sennheiser transmitters, receivers, antenna distribution systems and headsets were also used for percussion, communications and other background operations.

‘Our Les Mis sound team, which includes a production engineer, head operator and radio mic technicians, is very experienced and

has used Sennheiser equipment for many years,’ said Ms Lee. ‘Back at System Sound in Australia we have an RF service technician who services and maintains all our RF equipment so it is always in good working order.’

A major concern for productions involving extensive use of wireless microphones is RF interference and intermodulation. To overcome this, System Sound called on Sennheiser’s Wireless Systems Manager (WSM) software to remotely monitor the radio microphones, update labelling, and reprogram the receivers as needed. During each performance, the team had a dedicated radio microphone technician monitoring the RF and audio quality of each microphone.

www.sennheiser.ae

dBTechnologies T12 cabinets and two DVA S1518N subwoofers per side, with a further two T12s served as stage monitors and an Avid Venue SC48 mixer controlled the levels from a series of Shure microphones. Completing the setup were JBL PRX 400 speakers, a Yamaha keyboard

Francis Karuri served as the project manager on behalf of Sound Creations and was supported by Vincent Manwa and Kevin Mehta.

www.homeboyz.co.ke

www.soundcreationsltd.com

AIRSTAR, CAMERA, ACTION

QATAR: A pair of Airstar Gaffair 1.2K HMI lighting balloons were called into action for the recent production of a commercial for the new Es’hailSat Qatari satellite. The manufacturer’s lighting balloons are regularly used for reportedly provide ‘non-glaring, the Gaffairs was on the main

Club FM goes live with TSL Products

UAE: Dubai-based Malayalam language radio channel, Club FM, has gone on air thanks to equipment from TSL Products. Systems integrator, RGB Broadcasting, selected the manufacturer’s AMU1-BAS L audio monitor and MDU14-B-32A power unit as a technological solution to enable System (RDS) station.

‘We wanted to install the latest high quality at RGB Broadcasting. ‘TSL Products’ combination of audio monitoring technology and mains distribution units is an ideal solution to enhance on creating compelling radio shows.’

The 1U AMU1-BAS L offers six stereo analogue inputs, dual 106 segment bargraphs, internal stereo loudspeakers and internal PSU. The monitor has loudness indication as well as headphone outputs with LS muting. The MDU14-B-32A is

a 32A mains distributor with 14 way fused IEC outlets and a cable tie bar. The unit has green LED power indicators and is also supplied with PowerCon input connectors, reportedly allowing RGB Broadcasting to manage basic power and

‘We are pleased that RGB Broadcasting selected

PRG Gearhouse calls on beyerdynamic

TSL Products solutions for this installation,’ said Swarup Mukherjee, regional sales manager for TSL Products. ‘The audio monitors and the power units are such simple systems but they make production

are certain that they will prove their worth on this project.’

Away from the TSL equipment, the radio station has also been equipped with Electro-Voice RE27N/D microphones, Genelec monitors and Apart CD players. Control is via Wheatstone’s LX24 console with the manufacturer’s IP-88E Blade-3 engine. Rounding off the equipment list are

monitoring receivers and a Behringer HA4700 4-channel headphone mixing and distribution

www.rgbbroadcasting.com

www.tslproducts.com

production Dhow while the second was on a supporting speedboat. The main challenge for the production came from the windy conditions. However, the lighting quality was said to enable a faster shoot.

www.airstar-light.com

UAE: Dubai-based event technology company, PRG Gearhouse, used a beyerdynamic TG 1000 along with MM1w capsule measurement microphone to align and tune the sound system for a recent corporate gig at the Dubai World Trade Centre. The system was supplied through the manufacturer’s local distributor, AVL Electronics LLC.

‘The wireless ability allows quick measurement especially from balconies and back of house areas offering a quick insight to the room’s overall frequency response,’ said PRG Gearhouse live sound

a favourite of mine amongst the range.’

Away from the measurement mic, Mr Aungier has also been impressed by the German manufacturer’s wireless range. ‘After a recent demo of the beyerdynamic TG 1000 wireless kit I was impressed by the easy setup and operation of the unit,’ he offered. ‘With synchronisation at less than 1s, robust build, intuitive menu options, over 300m coverage and a wide range of excellent sounding microphone capsules the brand makes a strong mark in its launch of wireless technology.

‘Notable capsules such as

the TG V56w compare well with other industry competitors for its multi-function speech to vocal assignment,’ he continued. ‘The TG V90w ribbon capsule is rich in tonality and offers a warm wellrounded vocal microphone for even the biggest of stages. The lavalier

TG L58c is highly durable and offers a great sounding, disguised “Key Note” mic with considerably high gain before feedback.’

www.avlelectronics.ae

www.beyerdynamic.com

www.prg.com/ae

An extensive Sennheiser setup was used for Les Misérables in Dubai

The 14th Koroga Festival

The lights in action

The studio setup at Club FM

PRG Gearhouse live sound engineer, Rory Aungier

Bader al Mulla and Renkus-Heinz impress at college

KUWAIT: Systems integrator, Bader al Mulla, recently completed a threeyear project at the Kuwait College of Science & Technology (KCST) that saw A/V engineer Manohar Sharma design the sound solutions for the college’s 525-seat auditorium and two 215-seat lecture halls. Mr Sharma selected systems from Renkus-Heinz to complement the acoustics of each space.

‘I was involved in the audio-visual design for the entire KCST complex, the heart of which is the auditorium, with the two lecture theatres,’ Mr Sharma recalled. ‘The technology is excellent throughout – Christie

projectors, Extron and Crestron switching control, and of course Renkus-Heinz loudspeakers. But what was remarkable from the beginning was the quality of the room itself – the room acoustics. It has been so well designed and constructed that it has a measured STI of 0.77.’

Joining Mr Sharma and the Bader al Mulla team in commissioning the audio solution was Renkus-Heinz’ sales manager for the Middle East, Norbert Bau, who was equally impressed by the auditorium’s acoustics. ‘The auditorium is a wonderful space in which they’ve

worked incredibly hard to achieve an optimum acoustic environment,’ he said. ‘The room actually sounds like a studio.’

The auditorium has been equipped with a pair of Iconyx ICL-FR Dual arrays, which were mounted to the far left and right. Supporting the low frequencies are two PN212SUBR subwoofers in front of the stage. While this setup delivers for

two-way CF61 enclosures have been

‘Beam steering is still applied because the auditorium is quite wide, around 20m and about 30m deep. With left and right arrays serving such a deep auditorium, we needed to direct the beams to achieve optimum coverage across the audience area, which we have,’ noted Mr Sharma. Mr Bau added: ‘By using beam steering we achieved really smooth coverage across the entire audience. When we asked the general manager to come and listen and he was really good.’

speech reinforcement applications, a surround sound system consisting

10 spread across the sides and rear of the seating area) was installed for use during more complicated productions. For monitoring, four PN121M conic loudspeaker systems have been deployed onstage, while

The two smaller lecture halls have comprising two Iconyx ICL-FR Singles, installed far left and right of the stage, a central PN212-SUBR subwoofer, three PN61R as frontmonitors.

‘For me, this whole project was very special because of the level of technical skill and the commitment to the work that has been done,’ revealed Mr Bau. ‘KCST had the determination to create a truly excellent solution, and Bader al

Mulla had the ability to get the job done properly. We supported them with as much information and assistance as we could and the end result is fantastic.’

‘We have some experience with other brands but we know from previous projects that RenkusHeinz is very supportive, and that we could relax in the knowledge that they would come on-board and support us by certifying the tuning,’ concluded Mr Sharma. ‘This us with Renkus-Heinz. It is a matter of pride that we have successfully completed such an important solution.’

www.almullagroup.com

www.renkus-heinz.com

Cape Town ASE campus opens with Audient Live goes Lawo

every studio I’ve owned since I

Mr Farquharson explained. ‘It was the ideal choice for the school in terms of value-for-money, reliability and most of all, the intuitive way the console is laid out makes it perfect for teaching.’

SOUTH AFRICA: Founded in 1997, the Academy of Sound Engineering (ASE) is a Johannesburg-based educational institute that offers a diploma in audio technology in addition to the only sound engineering technology Bachelor of Science degree in South Africa. Almost two decades since opening its doors, the academy has established a second campus in Cape Town with South African Music Award (SAMA) winning engineer Keith Farquharson overseeing the facility. A long-time user of Audient solutions, Mr Farquharson drew upon his studio and live production experience, specifying the manufacturer’s ASP8024 console.

‘I’ve had an Audient console in

In addition to the ASP8024, iD14 interfaces have been equipped at each of the workstations in the building’s computer lab. Meanwhile, Audient’s Zen small format automated recording system has been installed in the smaller mixing and mastering room.

have been spent on creating recording spaces that not only sound good, but give students the feel of being in a genuine recording studio environment rather than a classroom,’ noted Mr Farquharson.

‘To that end, having the consistency of Audient hardware in each room, has made a tremendous contribution to that. The next ASP8024 Heritage Edition.’

www.ase.co.za

www.audient.com

UAE: Live, the OB service provider for Abu Dhabi Media broadcast processors for its

region, an extensive collection of SNG equipment and 3,000 sq-m of fully equipped studios. The

studios. The broadcaster is already an established Lawo user with several of the manufacturer’s audio consoles and VSM control systems in its OB vans.

Live’s broadcast facilities

reportedly offer the broadcaster its ability to combine audio and video management functions. The was key to the selection of the ‘As a service provider for very different applications, we have to offer our clients the most Abdelrazaq, head of broadcast are the perfect tool for this, different production situations quickly and reliably.’

www.lawo.com

www.livehd.ae

Hamad Abdelrazaq, head of broadcast engineering at Live

Bader al Mulla installed a Renkus-Heinz solution at Kuwait College of Science & Technology

15 PN61R loudspeakers serve as surrounds

The 525-seat auditorium

ASE has opened a campus in Cape Town

Keith Farquharson specified the ASP8024 for the main recording studio

iD14s were deployed at all workstations in the computer lab

‘We have to offer our clients the most flexible but also most cost-efficient solutions’

Gearhouse Durban invests in K2

SOUTH AFRICA: The Durban branch of Gearhouse South Africa has expanded its audio inventory with the purchase of an L-Acoustics K2 system. The branch has bought 24 K2 plus 16 of the manufacturer’s SB28 subs.

‘Gearhouse Group already has a large L-Acoustics inventory, including 24 dV-Dosc here in Durban, so it was system,’ said Gary Loader, the branch’s audio operations manager. ‘The K2 proved the best option for us. As well as complementing our stock of dV-Dosc, it also made sense to invest in equipment which would perfectly complement the Johannesburg branch equipment, which includes L-Acoustics K1, V-Dosc, Kudo, Kara and Arcs.

‘The KwaZulu Natal market is quite different from other regions in South Africa, with a strong conferencing thrust,’ he continued. ‘The K2 system was in the Durban International Convention Centre and the lightweight system is perfect for this sizeable venue and its various corporate events.’

The new K2 system has already been put to use for a number of events both in of this came when the K2 rig was

called in to augment the Johannesburg operation’s K1 system for a November in-the-round event at the FNB Stadium where well-known evangelist Angus Buchanan hosted The Sacred Assembly ‘Like all the other Gearhouse teams, we pride ourselves on providing the highest quality equipment and service. The K2 system sounds great, it’s compact,

up,’ concluded Mr Loader.

www.gearhouse.co.za www.l-acoustics.com

Tera System delivers for Minhal Crowne Plaza

to the hotel’s BGM sources. In addition, seven Vocia VO-4 output devices support up to 28 zones while four Vocia DS-10 paging stations have also been installed. At the other end of the signal chain, have been called into action. Tera System supplied 950 speakers from the manufacturer’s catalogue, including the CM4T full range ceiling speaker and the EN-SM6T10-W ceiling surface mount speaker, as well as 14 4-channel

SAUDI ARABIA: Tera System has installed a Biamp Vocia system to power the BGM at the 16-storey Minhal Crowne Plaza hotel in Riyadh. The BGM is delivered to the various areas of the hotel thanks to a CobraNet audio network. The solution was designed by Ahmed Soliman low current and A/V senior consultant presales engineer at Tera System. It features a Vocia VI-6 which supports up to six channels of analogue audio inputs and acts as the interface

The main challenge for the project was the distance between the central racks by using CobraNet technology as a decentralised solution. This provided Tera System with the facility to use the public address sub racks distributed in eliminate the distance from the central racks to the sub racks.

A further challenge came from the need for seven locations to have their own plug and play audio sources. This was overcome by using a Biamp AudiaEXPI-4 inputs to connect local sources to the system in the various zones.

www.teraksa.com

K2 at The Sacred Assembly at the FNB Stadium

Ahmed Soliman low current and A/V senior consultant presales engineer at Tera System

BXB delivers across the region

MEA: BXB conferencing solutions have been called into action for a variety of projects across the region. Recent installs can be found in Iran, Pakistan and Uzbekistan.

Ranked as one of Iran’s leading medical schools, teaching more than 150 healthcare disciplines to more than 9,000 students, Shiraz University of Medical Sciences (SUMS) has recently been equipped with a BXB UFO-2000

display the orator at any given moment. The C-901 camera control unit automatically tracks the position of the microphone in use, while the HCK-700 manual camera can also be used to select what is displayed on the screens, overriding the automatic tracking.

new conferencing system, Britlite Engineering Company supplied and installed a BXB FCS3000 digital conference system. The installation comprised 18 delegate units to the table. Britlite’s Ashhad Ali served as the

distributors. It has had a white BXB UFO2000 series conference system installed by the manufacturer’s local dealer, Polymedia Uzbekistan. Polymedia’s chief engineer, Aziz Nasimov, designed the solution.

It is formed of one UFO-2011 chairman microphone and 14 UFO-2012 delegate units. Controlling these is the Taiwanese manufacturer’s UFO-2070 graphical control

Series conference system in its conference room. PTO installed the solution, which was to replace the old conferencing equipment, and includes a camera tracking system.

‘The university had an old conference system with several problems, such as poor sound quality and unstable connection during meetings,’ explained PTO’s project manager, Alireza Nourinejad. The BXB solution that PTO deployed comprised a UFO-2050 main control unit installed with the required software, one chairman unit and 56 daisy-chained delegate units.

Delegates also have a screen, meaning BXB’s camera tracking system was also installed to

‘We suggested HDC-711 full HD cameras with the UFO-2000 conference system,’ added Mr Nourinejad. ‘We installed the new system and now they are using it without any problem.’ Completing the solution and complementing the BXB equipment are two Sony EVI-D70 PTZ cameras, a Panasonic DMR, an Aten splitter switcher and a Montarbo sound system. Habib University was founded in 2014 as Karachi. When the university recently sought

OHI installs Supreme Court

OMAN: Oman International Electronics & Trading Co (OHI Electronics), a subsidiary of the OHI Group, recently completed an installation at the Supreme Court in Muscat.

On the audio side, OHI Electronics has installed a Pan Acoustics Pan Beam solution. The project saw OHI install 12 of the manufacturer’s PB 16 steerable speakers in addition to the same number of its PB 08 columns.

requested ‘natural sounding, easy to install, slim line speaker systems’ to cover the court rooms and the administrative court. Following a detailed search of the available solutions, Santosh Vasu, sales manager for the A/V division of OHI Electronics opted for the Pan Beam active digital steerable loudspeaker systems.

‘Due to the EASE simulations that were made, showing the optimal sound levels with high speech intelligibility, Pan Beam proved to be the only solution solving all requirements for the court rooms,’ explained Mr Vasu. Away from audio, OHI opted for

Roland’s VR-3, a combined portable audio and video mixer that includes a USB port for live streaming. This was supplied by the manufacturer’s distributor in the Middle East, Nicolas M Kyvernitis Electronics Enterprises.

‘Based on the live production and streaming requirements we chose Roland VR-3 mixers for the project,’ explained Mr Vasu. ‘It makes it very easy for A/V technicians to

The best feature is its portability and recording and streaming applications.’

www.nmkelectronics.com

www.ohielec.com

www.pan-acoustics.de proav.roland.com

project manager overseeing this installation, which also saw the integraton of Extron’s IN1606 series and HDMI DA4 series switchers, ceiling speakers, MR1216 and MD0602 relay and dimmer light control from HDL Automation, and a Panasonic PT-VW530 projector. Comprising 14 industrial enterprises and 13 regional distribution companies, FerghanaAzot consists of many of the Republic of Uzbekistan’s chemical manufacturers and

SF serves up the sound at Capricorn

TURKEY:

system design and installation for Capricorn, a recently opened seafood restaurant in the Ortakoy district of Istanbul. The project went to SF due to the previous successful installations it has worked on for D.ream, the restaurant’s owner. Located on the banks of the

star hotel, the design brief for the restaurant was a sound system that would be able to provide high

the luxury restaurant, while making sure that the guests of the nearby hotel were not disturbed. Further to this, Capricorn required speakers that were physically small enough to be unobtrusive yet have the weekend.

To meet the aesthetic and SPL needs of the restaurant, SF opted for small enclosures, but doubled the number it installed and carefully selected their positioning.

Series column and ceiling speakers, installing 20 Control 26C and 17

software. Delivering visual reinforcement during meetings is an HDC-712 PTZ full HD camera, which was deployed with a C901 camera control unit for image tracking. Completing the BXB installation is a UFO-2050 main digital control unit.

Amongst the other equipment that Polymedia Uzbekistan installed were an 85-inch LCD display, a 65-inch UHD Flipbox a Wacom interactive tablet with Intel NUC Mini PC, an Extron digital video extender, an HDMI switcher, surface mount and ceiling speakers. www.bxb.tw

Control 23 speakers throughout the restaurant with four SB210 providing the bass reinforcement. The solution is processed by a dbx ZonePro and powered by Crown XLS

the system and the result has

reportedly pleased the owners, with SF stating ‘the customers and the administrators of the restaurant are very pleased with the results as they are getting great sound without disturbing the nearby buildings’.

www.sf.com.tr

The BXB conference system in FerghanaAzot’s meeting room

A BXB FCS-3000 system was installed at Habib University

Shiraz University installed BXB’s UFO 2000

The Supreme Court in Muscat

Capricorn has opened in the Ortakoy district of Istanbul

SF was responsible for the design and installation

The solution draws on products from the Harman catalogue

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SOUNDBITES

SPIRIT TAKES CONTROL WITH ARENA

QATAR: Doha-based events management company, Spirit Events, has increased its inventory with the purchase of an Avolites Arena lighting console. The purchase was made through the manufacturer’s local partner, Procom Middle East.

MMX drives sales with Barix Echo Beats launches webstore

ZIMBABWE: MMX In-Store Media has deployed a Barix SoundScape cloud-based platform to manage and deliver music and advertising content to three retail businesses in Zimbabwe. The move has seen MMX In-Store Media transition from an FTP-based playout system to a fully integrated streaming service.

The initial SoundScape deployment supports nearly 100 locations –including 60 branches of the TM Pick and Pay supermarket chain – with plans to scale to many additional

Companies, the parent of MMX In-Store Media. ‘We wanted a alternative to satellite, and Zimbabwe actually has fairly good connectivity compared to the rest of Africa thanks to investment in Barix’ FTP-based system, which worked well, but our goal was a more cloud-based system with a content management portal that was easy to

the answer to that goal.

playlists and make changes at the drop of a hat across multiple stores and clusters is enormously helpful,’ he offered. ‘For example, we have an urban cluster and a rural cluster of stores, each with different demographics that require distinct music and ads – not to mention different languages. SoundScape makes it very easy to serve these different groups and clusters with targeted audio content. The reliability of Barix can also not be understated. The Exstreamer SoundScape IP audio players at the stores are built like a tank, with a futureproof design that will keep hardware costs minimal for many years.’

Spirit handles every aspect of events execution from organisation and venue set-up, to conceptualisation, production and social media marketing. It has a large inventory of audio, lighting and rigging equipment and the growth of Qatar’s events industry inspired the purchase.

‘We believe in building relationships and acquiring equipment of the highest quality,’ said Spirit Events business development manager Sajid Ettol. ‘Procom was gracious enough to provide us with that.’

Following the purchase, Amjad Ali Khan and Shabeeb Rehman from Spirit Events travelled to Dubai for full training on the Titan V.10 software, covering all of its main features: patching palettes and creating shapes using Avolites 3 shape engines. www.procom-me.com www.spiritevents.qa

STAGE TEC JOINS AIMS

WORLD: Stage Tec has become the latest manufacturer to announce its membership of AIMS. ‘One of the biggest challenges facing our industry today is the switch to IP-based technical production solutions’, explained René Harder, Stage Tec executive board member. ‘Open standards facilitate this change and give our customers the which are interoperable and meet their needs.’ aimsalliance.org stagetec.com

locations as more clients sign on for the service. The transition to SoundScape followed an effort to develop an IP-based delivery system in house. That effort was born out of the need to reduce the costs of delivering in-store media content over satellite, which remains a popular yet expensive distribution platform in Africa.

‘We worked with a developer who was keen on building something from the ground up, but the costs proved too high for all involved,’ said Brendon Sole, director, MMX

‘We see what is really going on with music delivery in the stores, and the scheduling of ads across various locations,’ continued Mr Sole. ‘It’s a very important tool for proving that ads are being delivered and broadcast. There is a clear record of reconciliation, as opposed to asking advertisers to trust that their spots are playing off a local USB stick. It’s much easier to sell ad space using SoundScape because of that proof of delivery.’

Following the initial installation, Mr Sole is clearly happy with the results.

Beyond extending the SoundScape network to additional locations, moving forward Mr Sole expects to better leverage the product’s system monitoring capabilities. For now, he’s relying on system alerts within the central SoundScape portal, which help to support basic troubleshooting needs. He also hopes to utilise the live streaming capabilities in the future, as opposed to the purely initial deployment.

‘While network connectivity is good, bandwidth remains quite expensive in Zimbabwe,’ concluded live streaming outside of peak hours, and eventually implement a live radio service for special events. We see a lot of opportunity to be creative with SoundScape in the future.’

www.barix.com www.mmx.co.zw

Audio Logic turns to dLive

SOUTH AFRICA: Centurion-based rental house, Audio Logic, has expanded its inventory with the purchase of an Allen & Heath dLive system. The solution was purchased through the manufacturer’s local distributor, Audiosure, and comprises a DM64 MixRack and S5000 Surface.

‘It was a rider-driven decision, as a lot of the work we’re involved with is coming from other countries, and this is the console that they spec,’ explained Marius Marais, owner of Audio Logic. ‘Also, integration with the Allen & Heath ME monitoring system is important, as is the versatility of the console and built-in plugins. It was a no-brainer.

‘In terms of input count, dLive has all you will need and more,’ he continued. ‘It’s perfect for a large musical but I can also throw it at a large corporate event, as you are able to do things like drop inputs and matrices and use those outputs for additional auxes. This versatility means it can be used as a very powerful

console for both FOH and monitors. I’m very, very chuffed with the console and I’ve already allocated it to three big gigs.’

UAE: Echo Beats has launched a webstore as its primary retail outlet.

into the website, such as the wholesale account which has been made to suit integrators, big

rental companies and dealers,’ said Echo Beats’ Rami Najjar. ‘It has features including a pricing structure and real stock updates. Meanwhile, the retail account offers deals and payment options that can allow customers to pay in instalments.’

The move to online as the primary point of sale does not mean that customers won’t be able to get hands on with the products as the distributor will maintain the large demo space in its warehouse. However, Mr Najjar believes that the local market is ready for this. ‘We have received great feedback from 90 per cent of the customers we know as well as our new clients. End-users already trust online reviews and branded items, we believe that distributors will have to move this way.’

www.echobeats.ae

Theatre’s production of Saturday Night Fever

Following this, it was used again on another production in mid-December.

‘My crew raves about it and they say it’s the best thing ever,’ surmised Mr Marais. ‘Eventually we’ll look at buying another one for monitors and share gain. I think it’s brilliant, plugins are great and the EQ is really, really nice. It reminds me of the old Allen & Heath GL4000, which was an analogue board with one of the smoothest EQ responses in the

it’s straightforward, it’s not complicated. The FX engines are really nice, too. I think dLive is a logical step for any rental company, from a performance and cost point of view.’

www.allen-heath.com

www.audiologic.co.za

www.audiosure.co.za

The Spirit and Procom teams

The MMX control room

Nathan Thiart, Kenson Makeke, Christo Visser and Julius Dreyer

eclipse Venue Services agrees two new deals

UAE: Earlier in the year, eclipse Venue Services announced partnerships with six luxury hotels in the UAE to manage their in-house A/V services, in addition to two such partnerships that were already in place. Following this, the eclipse Group brand has added another two hotel partnerships to its portfolio, bringing its total number in the region to 10 as it takes responsibility for the audiovisual systems and services at Steigenberger Hotel Business Bay Dubai and Marriott Downtown

Cairo Jazz Club goes L-Acoustics

meetings including room set-up, food and drink, technology and digital experiences, bringing every guest’s vision to life and ensuring all their meeting objectives are met.’

Burcu Betoner, director of sales and marketing at Steigenberger Hotel Business Bay, Dubai, also discussed his hotel’s parternship reputation and unbeatable service made them the clear choice as our A/V provider,’ he said. ‘Steigenberger

EGYPT: The annual renovations at Cairo Jazz Club have seen the central Cairo venue re-open with an L-Acoustics sound system. The new system comprises a combination of Arcs Wide and X Series loudspeakers and was designed and installed by Heliopolis-based Audio Technology.

‘The project presented us with some interesting challenges,’

marketing manager at Audio Technology. ‘Cairo Jazz Club covers exposed air conduits as obstacles, which makes even sound coverage

‘The beauty of the L-Acoustics philosophy is that it offers a clear and streamlined product line, and all cabinets have the same sonic signature. This meant that we were able to install the loudspeakers we needed for the space, knowing that they would all interact smoothly. To make everything work seamlessly, we installed an L-Net Ethernetbased network, which allowed us

eclipse Venue Services has announced two more UAE hotel partnerships

Abu Dhabi. eclipse will provide each of the hotels with its own team of A/V professionals that will act as an extension of the establishment’s hospitality team. Each hotel’s inventory can also be supplemented when needed by equipment from eclipse’s roster.

‘In eclipse we have found a partner who provides the best quality audiovisual products to our clients, enhancing the overall meeting experience,’ explained David Lance, general manager of the Marriott Hotel and Marriott Executive Apartments, Downtown Abu Dhabi. ‘We are now able to provide a 360-degree tailored approach to

dependability, carefully selecting external suppliers who will provide the same level of support.’

‘I am eager to begin working with our two new venues to see what challenges and creative concepts are awaiting us,’ said Sacha Morazain, general manager at eclipse Venue Services. ‘I am very proud to say that in just two and a half years, eclipse Venue Services has grown from a three-man operation to a team of over 40 experts, with a wellearned reputation for creativity, commitment, and client satisfaction.’

www.eclipsevenueservices.ae

Good vibrations

UAE: Artes Middle East was called in to meet the audio, lighting and backline needs of Brian Wilson for his recent performance at the Dubai Duty Free Tennis Stadium. The rental company has been supplying events at the venue for a number of years, so was able to call on its standard Meyer Sound setup for the show. ‘We have been doing a lot of concerts in this venue for the past 10 to 15 years. Over this period we’ve worked on an optimum solution audiowise keeping in mind the grandstands

da Costa, technical manager for Artes. ‘So now it’s pretty much a set system that’s put in, keeping in mind the type of music and crowd expected. We have always used Meyer Sound with

either the M3Ds or the Milos as the main system. The only variations are in the subwoofer setup, whether it will be a cardioid setup or a straight

depends on the requests from the touring engineers.’

The deployed solution called on eight M3D cabinets per side with low end via a further eight M3D

musical genres on different nights, including jazz, dance, acoustic, electronic and more.’

The distributed system was designed using L-Acoustics 3D modelling software and the input of its application engineer, Oliver

different ways depending on the position of the DJ booth, or if a live band is playing,’ explained Mr Hany. ‘Two SB18i subs reinforce the low frequencies and are placed on the ground, whilst two Arcs Wide speakers cover the larger areas

The rest of the system sees two

on one side of the club, while the other side is covered by a further

by four LA4Xs.

‘Although the total number of cabinets isn’t large, the design and set up of the system is quite complex,’ said Mr Hany.

it needed. There is an obvious difference in Cairo Jazz Club’s sound clarity and distribution since installing L-Acoustics in the venue. We are very happy with the outcome.’

This opinion is shared by Cairo Jazz Club’s Alexander Rizk. ‘When it came time to update our sound system, L-Acoustics was the best choice. The system addresses both the challenge of our diverse line-up and the awkward shape of the room. L-Acoustics also has the on the market. We are very happy with our choice.’

www.audioteceg.com

www.l-acoustics.com

from the likes of Clay Paky and Martin Professional which were

subwoofers. A further eight of the manufacturer’s Milo cabinets

Control came in the form of two Meyer Sound Galileo 616 speaker management systems alongside equaliser while the show was mixed

Artes

Waves 9. Monitors again called on

wireless IEMs and two Shure P6HW wired IEMs.

In terms of the lighting package,

‘For me personally, this was one of the best sounding gigs I’ve worked on,’ smiled Mr da Costa ‘Everything stood out the way it was meant to be and sound. We used the Meyer Sound M3D system which I thought show. It was a great mix with some really brilliant musicians on stage, playing everything live, with no tracks and not even a computer in sight. ‘As always, the client was really happy with the outcome, that’s why we do all the gigs for the Irish Village right through the year, whether it’s at the tennis stadium or at the Irish Village lake side,’ concluded Mr da Costa. www.artesme.com

supplied its Meyer Sound rig for the concert

Cairo Jazz Club has opted for an L-Acoustics sound system

The system can be configured in different ways

Two Arcs Wide cover the areas outside the dance floor

Three X15 HiQ coaxial cabinets cover the dance floor area

MusicXChange Ghana records with DPA

Ghanaian music is performed outside, hence Federico Masetti decided to record in the

in too hot. Not being in a traditional studio, I needed more options, so help,’ said Mr Masetti.

The MusicXChange CEO continued by discussing the d:screet 4080,

describing it as ‘the smallest microphone, very easy to set up and very reliable’. He stated: ‘It

A variety of DPA mics

GHANA: MusicXChange Ghana is a to preserve the country’s music and education projects. Federico Masetti, the CEO of MusicXChange Inc has been using a range of DPA microphones as part of his study abroad programme, but also country,’ Mr Masetti recalled. ’My on a humanitarian project to help further his efforts and utilise my passion for music to help the people

The portfolio of DPA mics that Mr Masetti brought to Ghana comprised the d:screet 4080 miniature cardioid lavalier, d:dicate 4017B shotgun, d:dicate 4011F cardioid boom mic and d:facto vocal microphone.

‘For the outdoor recording, I used the d:dicate 4011F in an ORTF 4080 lavalier,’ explained Mr Masetti.

the placement of the musicians so

The d:dicate 4011F’s 20dB pad environment. ‘That helped us closer to the sound source and

The d:screet 4080 gave me highproblems.’

The live concerts staged by the

local communities and interacted by providing free musical events, accompanied by some conversation about the project,’ noted Mr Masetti. ‘We used the d:facto vocal microphones during these events and during a performance by Dela Botri, a master musician of the Ghanaian complemented the sound from Dela linear off axis frequency response.

‘In Ghana, the people really believe

many different countries around the www.dpamicrophones.com www.musicxchangeghana.org

were used

field

MusicXChange Ghana provides recording opportunities to Ghanaian musicians

SEMINAR DIARY

19-22 JANUARY

TEC Tracks at The Namm Show Anaheim, USA

TEC Tracks comprises over 70 sessions and seminars, all taking place during NAMM. Topics will cover recording, live sound and lighting, and a range of keynote addresses.

www.namm.org

23-25 JANUARY

Extron Control Professional Dubai,

UAE

This Extron Control Systems

individuals to deploy and maintain customised A/V control systems that are built around IP Link Pro Series and TouchLink Pro Series products.

www.extron.com

6-10 FEBRUARY

CTS at ISE Amsterdam, Netherlands

Attendees to the ISE show will have the opportunity to get CTS

CTS prep and study sessions followed by the exam.

www.iseurope.org

6-11 FEBRUARY

Prolyte Rigging Training Course Cape Town, South Africa

Five days of training from Rhino Rigs’ Rinus Bakker and will cover topics including safety, machinery and equipment, maintenance, lifting materials, force calculations and load tables, among others.

www.dwrdistribution.co.za

20-22 FEBRUARY

Core System Programming Dubai,

UAE

This three day course from Crestron will teach the more advanced SIMPL Windows programming skills needed for more complex systems.

www.crestron.eu

Lawo, Sennheiser and Neumann team up for Dubai training

Caro, Lawo’s live sound specialist.

‘And for Lawo in particular it was an event to demonstrate to the engineers – who knew Lawo mainly as a broadcast manufacturer – that the company’s portfolio provides products and solutions for theatres, live applications and the install market. Proof of Lawo’s presence in this segment are projects like last year’s and this year’s Bastille Day with 500,000 spectators listening to the performance for the 250 musicians of the National Orchestra

maximum sense,’ added Mr Jasper. ‘It allows users to produce an experience never achieved before. Lawo and Neumann/Sennheiser have developed a solution to provide the full digital signal chain from the microphone into the mixing console by way of Neumann’s DMI-8 digital microphone interface utilising Ravenna audio-over-IP technology. The completely integrated digital digital microphones takes the an exciting new level and production tasks like line check can be executed in just a few seconds.’

UAE: Lawo, Sennheiser and Neumann recently partnered for a live and theatre mixing workshop in Dubai. Hosted at the Hotel Ibis One Central and split into four sessions, the event attracted technical engineers, sound engineers and technical directors.

‘Almost all sessions were fully booked and the atmosphere very focused,’ said Lawo sales director – Middle East, Klaus-Jörg Jasper.

‘This workshop centred on the core question for live concerts – how to achieve the best live sound experience for your audience? The scheduled programme included capturing sound by using digital microphones, transporting audio via IP networks and mixing on digital, network-enabled audio consoles.’

‘From our side the training went very well,’ added John McGregor, business development manager – systems solutions channel for Sennheiser Middle East. ‘Being able to showcase our Neumann Solution D microphone system and Sennheiser Digital microphones side by side with a

Lawo console was perfect. It allowed our customers to see and experience microphones unique.

‘The turnout was good,’ continued Mr McGregor. ‘The attendees were people we have not seen in the past but are big Sennheiser users. It was great to be able to introduce them to will change the way they are working ’

‘The demonstrators were happy about the eager participants who following the training were capable using the Sennheiser/Neumann/ Lawo setup,’ agreed Hervé de

of France and the Radio France Choir, with many opera soloists, using two front-of-house Lawo mc²36 mixing consoles.’ One of the key aspects to the training session was highlighting the digital signal chain. ‘With modern digital signal paths we are able to of nearly any production,’ said Mr McGregor. ‘This is a dramatic change in how things are done and will allow for much less equipment being able to do a larger job. It really is a step are planned and executed.’

‘Today’s PA/line array systems are able to reproduce the slightest nuances in sound, so today a

WyreStorm and MultiVision host A/V training event

UAE: WyreStorm recently partnered with its regional distributor for the Middle East, MultiVision, presenting a training seminar in Dubai. The event took place across two days at the Dusit Thani Dubai hotel and was led by WyreStorm’s product experience manager, James Meredith.

The seminar, which was attended by more than 25 systems integrators and consultants from all over the UAE, was designed to provide knowledge and understanding of solutions available, with discussions of example applications and a Q&A session forming part of the training.

and

‘This is our third Dubai training event in the space of 12 months and each time we come we’re

The manufacturers believe their collaboration for this event has been successful. ‘The two companies who have developed the integrated audio signal transfer and processing know the best way to combine their products, demonstrating how to optimise the sound experience for the audience under different conditions,’ stated Mr de Caro. ‘Furthermore, Sennheiser, Neumann and Lawo stand for the future of the industry in using R&D resources to achieve integration of products into IP infrastructures.’

‘Working with Lawo on training sessions like this is really important to us,’ agreed Mr McGregor. ‘We are able to showcase our products in means our end users and potential of using our equipment and how it will change the way they work for the better.’

www.lawo.com

www.neumann.com

www.sennheiser.ae

seeing more and more interest in the latest A/V signal distribution technologies and how best to apply them in commercial projects, which is translating to more demand for places on our training seminars,’ said Mr Meredith. ‘I’ve been coming to Dubai for the past 15 years but you can really feel the expansion of the market in the region and it’s fantastic that WyreStorm is part of that. We can’t wait to come back – but we’ll maybe have to book a bigger room next time!’

www.multivision.ae

www.wyrestorm.com

Mr Meredith reportedly detailed the full WyreStorm NetworkHD A/V-over-IP eco-system, discussing applications such as video walls, collaboration, wireless connectivity

BYOD browser-based A/V control.

WyreStorm’s training sessions continue to expand in Dubai

Hervé de Caro discussing finer points of Lawo consoles

Lawo’s mc²36 mixing console

John McGregor explains Neumann’s digital mics

RCF draws a crowd

QSC hosts inaugural

Q-Sys training event in Kuwait

KUWAIT: QSC recently brought its Q-Sys Platform Level One

The event was organised by the manufacturer in collaboration with

The workshop was led by Ercin engineers from 10 systems seminar covered the basics of the Q-Sys platform and provided participants with the knowledge needed to take the Level One examination to become a

in attendance were also offered hands-on exposure to Q-Sys

‘We originally intended to train we had tremendous interest from as the local sales representative

Musicians get vocal

UAE: Around 100 international and event production companies in the region converged on Meydan as

The event saw a presentation

a demo in the outdoor arena which along with the SUB9007-AS active

‘All products received enthusiastic particularly interested in the remote control and monitoring options

SOUTH AFRICA: The DownTown Music Hub played host to the

The training was convened by Mzansi Music Magazine and the

artists could save themselves effectively planning their recording

www.qsctraining.com

www.vivid-avmedia.com

www.rcf.it www.vvsons.com

Charlene Lai and RubyGold holding a panel discussion that highlighted vocalist in the South African music sponsored second session saw Prosound set up a stage on the balcony where Lee Brune explained how a live performance is very session saw Paul Martin from the DownTown Music Hub explain how

‘These types of events are critical in assisting in the development of was an ideal opportunity to make a positive contribution through the products and through imparting experience in the live sound and

www.audio-technica.com

www.dtmh.co.za

www.femaledjnetwork.com

www.mzansimusicmag.com

www.prosound.co.za

QSC and Vivid Audiovisual Media brought Q-Sys Level One training to Kuwait

Charlene Lai, Sió, and RubyGold holding a panel discussion The

Sonic Wave opens for business

UAE: Sonic Wave has become the latest distributor to open its doors in brands from the Adam Hall catalogue, including Gravity, Cameo, dealer for Paxt for the likes of QSC

Finally, it will also be a reseller for manufacturers such as Sennheiser. ‘In a lot of places they are just interested in selling you the stuff, not guiding you down the right path

for what the products are,’ said

Sonic Wave’s Ruckie Jay. ‘Our whole philosophy is working with the right products. We don’t want to open a shop, put as much as we can in there and try and sell it. It’s about doing what we know is the right thing.’

The new shop has been a long term project and it was just as important for the space to be correct as it was to have a good portfolio of brands. ‘We wanted a place that not just suits the need

BSS takes on Brio

MIDDLE EAST: Calrec has appointed Broadcast and Studio Solutions (BSS) as the exclusive distributor of its recently launched Brio compact digital broadcast audio console in the UAE, Bahrain and Oman. The partnership will also see

Harrison, Calrec’s international sales manager. ‘Their extensive network of regional contacts, together with their

that a Brio is always readily available and supported in the region.’

BSS CEO Tareq Eid was equally enthusiastic about the partnership.

of having a shop, we wanted to have a space where we could offer the technical knowledge while also being able to demo equipment and showcase the product range,’ explained Mr Jay. ‘It’s somewhere musicians and people on the

SF moves home

TURKEY: Istanbul-based

headquarters. The company has located its new HQ at the Mustafa Kemal Kültür Merkez Akatlar AVM shopping centre, spreading out over

Sonic Wave also stocks Gravity stands

ground level of the industry.’

The new shop and its associated studio has opened on the ground

www.sonicwave.ae

BSS provide local support and afterand represent Brio’s 4U rackmount I/O companion: Br.IO.

‘BSS is the ideal partner to help us expand the Brio footprint in the Middle East,’ explained Anthony

‘Brio is the most powerful and compact digital audio console on the market today,’ he said. ‘Throughout our region, there’s strong market demand for a well-priced compact mixing console completely focused on the needs of broadcasters. We’re honoured to be associated with a company as well-respected as Calrec, and we’re certain that Brio and Br.IO will make a huge impact in the region.’

www.bss-me.com

www.calrec.com

UAE: AVL Electronics, has expanded its portfolio with the addition of myMix. The distributor believes the

personal monitor mixer and multitrack recorder will help it to target the other brands in its portfolio, such as beyerdynamic and RME.

‘It is a brand that will take us to a new market with more of the MI side and also the studio segment, it is a great solution for musicians,’

Bagheri. ‘It is a good addition to our line and we are looking forward to seeing more people using myMix in the UAE.’

Following the announcement, AVL Electronics will become the manufacturer’s new representative for the UAE.

www.avlelectronic.com

www.mymixaudio.com

‘Our company grew and so did the number of our employees,’ explained SF’s Samim Mutluer. too small and we also needed a showroom and a larger technical support area. The new location is more central and easier to access. It is 2,000 sq-m and our space and is better organised. This means our people can work in a more relaxed environment.’

Having moved into its new facility, the distributor is already seeing a number of advantages. Particular highlights for customers include the training room as well as the large showroom and demo space. In addition to this, the company’s

project team now has a bigger space to work in and the distributor is equipped with a fully automated large meeting room. For Mr Mutluer, the people who will gain the most out of the move is SF’s customers. ‘Better automatically means better service to customers. They can touch, feel and experience every single piece of equipment.’

www.sf.com.tr

Focusrite heads to MediaCast

UAE: Focusrite has appointed MediaCast as the regional distributor for its pro audio division in the Middle East. With the deal in place, the manufacturer’s main pro audio products are now available for demonstration at the distributor’s ‘Focusrite has risen in relevance with its technology leadership of the professional audio industry of business director of MediaCast.

way we have thought about pro audio aspects in processing and networking. Importantly, this also draws parallels with the similar technological development in the professional video industry, and

changing development in the media

technology landscape.’

‘We are extremely pleased to begin our new partnership between Focusrite’s pro audio division and MediaCast, one of the most

respected pro audio distributors in the region,’ added Focusrite’s EMEA pro and commercial business manager Adrian Hogg. ‘The on-hand technical expertise and varied product offering from MediaCast allows us to work together in providing the most advanced and effective solutions for all of our customers in pro recording, postproduction, live audio, broadcast and education. With going from success to success, new product offerings such as the ‘Red’ interfaces and of course Focusrite’s classic ISA pre-amp series now in MediaCast’s product portfolio, we look forward to the move towards a bright future.’

www.focusrite.com

www.mediacastsys.com

LD Systems equipment on show at Sonic Wave

Cameo Lighting in the showroom

Amir Bagheri showing myMix at Pro Light & Sound ME

Focusrite’s Adrian Hogg

Ses ve I ık Sistemleri

, has moved to a new headquarters

The new work space spans 2,000 sq-m

BSS will distribute Calrec’s Brio in the UAE, Oman and Bahrain

GOODBYE PROXIMITY EFFECT.

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APPOINTMENTS

Maestra grows Dubai team

values and encourages human effort

Kleinsmit. ‘This is really energising for all staff and crew – freelance and full time – and a big part of why I wanted to work with Maestra and be part of that team committed to delivering the very best results.’

UAE: Maestra Dubai has expanded its management team with a pair of new hires. Richard Kleinsmit will be looking after operations while Patrick Maxwell is set to take charge of the new warehouse.

‘I’m very excited to welcome two people of Richard and Patrick’s calibre on-board at the same time,’ said managing partner Tom Clements. ‘They both bring a huge amount of experience and some great personality attributes to our team. They share and appreciate our

core values and I look forward to a very positive and productive working relationship going forward.’

Mr Kleinsmit will liaise closely with all areas of the company – the transport, warehouse and technical divisions in particular – co-ordinating

logistics. He will oversee the production of correct health and safety documentations as well as keeping an eye on operations.

and providing an environment that

Mr Maxwell joins from PRGGearhouse and will be responsible for organising and running the warehouse. He is also involved in the organisation, design and set up of the new warehouse which will include dedicated prep bays allowing workshops and environmentally controlled areas as well as demo space.

‘Maestra has as excellent reputation for delivering to the highest standards, a rapidly increasing client base and many interesting projects which ticked all my boxes,’ said Mr Maxwell. ‘They are great people and there is also a real energy.’

www.maestra-group.com

Stage Tec promotes from within

WORLD: Stage Tec has promoted long-term employee Dirk Berar to become head of software and systems development. The new role will see Mr Berar coordinate and moderate software development.

Mr Berar joined the manufacturer as a graduate in 1999. He began his career at the company in software development where he

worked on developing dynamic automation for Cantus and Cinetra,

Increasingly, Mr Berar adopted the role of systems engineer, integrating the diverse engineering disciplines at Stage Tec. His responsibilities included project management, requirements management and systems engineering for

Digital Projection hires Middle East business development manager

MIDDLE EAST: Digital Projection has hired Shreeram Manjunath development manager for the Middle East. Mr Manjunath joins the British manufacturer’s Dubai experience in the Middle Eastern and African markets gained in sales and product management roles at Sanyo and Panasonic. The hire forms part of Digital Projection’s plans for market growth in the region.

‘Shreeram is a great addition to our Middle East team,’ explained Tim Wood, Digital Projection’s Middle East and Turkey regional sales manager. ‘His appointment will support our growing

development projects.

‘This position requires somebody with expertise, somebody who is able to motivate a team and is highly customer-oriented,’ stated Dr Helmut Jahne, managing director of Stage Tec.

international reach, and further reinforce our success in this region.

will rapidly succeed in his role.’

‘I am delighted to be joining the very company that pioneered am looking forward to increasing the brand reputation and market share in the Middle East,’ said Mr Manjunath. ‘Digital Projection has a track record of introducing products that are more customer driven than market driven. For me this is a fantastic business value and a critical point of differentiation, especially in this region.’

www.digitalprojection.com/emea

‘I look forward to driving the development of new products in an innovative team, it is an exciting challenge for me,’ concluded Mr Berar.

www.stagetec.com

Dirk Berar

Shreeram Manjunath

Richard Kleinsmit and Patrick Maxwell

EAW grows team

WORLD: The applications engineering team at EAW’s Whitinsville headquarters has been expanded in the form of Bryan

DiFabio. As an applications specialist, Mr DiFabio will provide technical expertise to the manufacturer’s customers worldwide.

‘We are thrilled to welcome Bryan to the team,’ said Adam Shulman, director of marketing and application engineering for EAW.

‘His experience and background will be extremely valuable to our customer base. He is a great example of the new directions we will be taking the applications team in the coming year.’

‘I like working with a tight-knit group of people focused on producing the best products/services possible,’ added Mr DiFabio. ‘That is exactly what I have found with the EAW team. I’m excited to add my contributions to the group.’

www.eaw.com

Radial appoints manager of engineering

WORLD: Gary Zywiecki has joined Radial Engineering’s Vancouverbased team as the new manager of engineering. He brings more than

25 years of product development experience to the role. Within his new role, Mr Zywiecki will manage the entire R&D process, from concept to launch. The team that he leads comprises engineers with a range of disciplines as diverse as vintage vacuum tube technology and digital and wireless technologies.

Mr Zywiecki has held several senior management and VP roles at companies including Sierra Wireless recent role prior to joining Radial Engineering, he served as director of engineering at Philips Lighting.

www.radialeng.com

Crestron promotes Steven Dullaert

EMEA: Crestron has promoted company veteran Steven Dullaert to the role of director of operations and customer support EMEA. In his new role, Mr Dullaert will be responsible for bringing customer service and operations together with a focus on the customer.

‘I am humbled by the trust and faith that the company has placed in me,’ said Mr Dullaert. ‘I will take this opportunity to help grow our organisation further by focusing on customer satisfaction.’

‘Steven has been in charge of customer support for two years now to the team and his management

Biamp CEO steps down

WORLD: Steve Metzger, president and CEO of Biamp Systems, is to step down from his role at the company to relocate his family. Mr Metzger will be replaced by current COO and 20 year company veteran, Matt Czyzewski, with the change effective from January 1st 2017.

and leadership style has turned this division into a very effective organisation,’ added Robin van Meeuwen, CEO Crestron EMEA. ‘I support the logistics and customer care department in the same way.

www.crestron.eu

‘Biamp is, without question, the best company I could have ever hoped to be associated with, much less lead. It is full of smart, caring, and hardworking people who are laser-focused on the customer

‘Matt has enormous experience at Biamp and the respect of the that he will elevate both in the years to come.’

‘On behalf of the board of directors, it is with pride I express

Matt’s leadership will build on the values of Steve Metzger, values that distinguish Biamp Systems Corporation and inspire our team,’ added Norm Kidder, director, Biamp Systems; president and CEO of

Lomar Corporation. ‘We thank Steve for his proven track-record of accomplishments, recognise and thank his family for supporting Steve’s many years of dedicated service, and most important, look forward to enjoying our lasting friendship.’

www.biamp.com

Bryan DiFabio, EAW’s newest application engineering team member

Steven Dullaert

Gary Zywiecki is the new manager of engineering at Radial

Matt Czyzewski

Steve Metzger

When less is more

CADAC IS drawing from the best of both worlds with the brand-new CDC seven mixing console unveiled at last year’s AES. Sandwiched in between the British manufacturer’s CDC six and CDC eight format of the CDC six and with the control capabilities of the CDC seven – dual 23.5and a 36-fader surface.

‘We were extremely pleased with the reception the CDC six received when launched 18 months ago,’ offered Nick Fletcher, director of R&D, ‘As a result of the continual development of our innovative user interface, industryleading latency management system and unsurpassable audio performance we believe the CDC seven offers an incredibly attractive proposition for those who want something that stands head and shoulders above the norm.’

According to Cadac, the CDC seven maintains all of the ‘feel and familiarity’ of the CDC six, in particular its user

operation and minimal learning curve. The new model doubles both the number of large format LCD touchscreens (with the associated encoders) as well as the physical fader count. Expanding the number of inputs to 96, the new console retains the CDC six’ 56 busses; 48 of them

The high contrast displays feature the same swipeable graphical user interface that Cadac users will be familiar with. The encoders immediately to the right of and below both screens further encourage the use of touch and swipe gestures to navigate and operate the console. A third, centrally-mounted 6.5-inch LCD touchscreen provides system control. The integration of the two main touchscreens gives users the ability to display and control multiple tasks simultaneously. For example, the VCAs can be displayed on one screen while the inputs to the VCAs are displayed on the other. The faders and encoders will follow the GUI displayed on the individual screens, helping to

set includes Cadac’s Monitor Mode with Mix Focus, as well as the ability to create custom fader layers. All 36 motorised faders on the CDC seven are stated to offer stereo metering and a full-colour

The desk can also be integrated into Cadac’s own MegaComms digital audio network, reportedly resulting in a total through-system latency from stage inputs to console outputs (including all console processing and A/D/A conversions) in operating at 96kHz.

The CDC seven also integrates 16 onboard stereo effects and comes

Waves interface allowing for direct connection to a Waves MultiRack SoundGrid server and Waves’ effects library while also enabling multitrack recording straight to a laptop.

www.cadac.co.uk

THE ORIGINAL

Ruggedized RJ45 data connector solution for data transfer in harsh and demanding applications.

etherCON CAT6A

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The CDC seven promises all of the control capability as the larger CDC eight in a more compact format

Nucleus squared

HAVING ENJOYED success and won awards for its Nucleus professional DAW controller, audio interface and studio monitoring hub, Solid State Logic (SSL) has released the Nucleus2. In response to customer feedback, the updated console adds to its predecessor’s multi-DAW control, console grade mic pre, DAW I/O and studio monitoring capabilities with the inclusion of talkback, main/mini monitor switching and Dante connectivity. Nucleus2 also differs

The talkback input feeds the headphone output with an adjustable gain.

‘TALK’ has been added to the surface and triggers a switchable -20dB DIM if required for the monitor outs. Also included due to popular demand is a monitor button that compares different systems’ mixes.

The SSL Dante Network I/O audio interface included on Nucleus2 takes the place of Nucleus’ USB soundcard. The new system features an inbuilt network switch and a pair of Ethernet ports: one that connects to a computer; the other for connecting other Danteenabled devices to a setup. The manufacturer has also made it possible to switch the talkback signal to feed a second channel

remote communication.

Control system to the AWS console line, SSL has released some updates to the stereo channel/InLine channel model, the AWS 948

is the inclusion of rear panel stereo channel output connections, which in a single pass enable stereo channel mode stem recording and in place, post pan, stereo stem generation in In-Line channel mode. The second new feature is in the form of a soft key on the ‘Chan Setup’ page that allows users to insert In/Out switching on In-Line channels independently. Enhancements have also been console’s screen. Finally, the manufacturer has been adding to its SSL Live L500 and L300 consoles with

the release of the V3.2 software update as well as a new control app for iPad named TaCo.

The software update provides the SSL Live consoles with over 20 improvements and new features. These include integrated Dante I/O module sample rate conversion, sample rate support for Dante 48, 96 and 192kHz with AES67 compatibility and a which adds quick control assignment options and the channel control tile screen layout. Meanwhile, the SSL Live TaCo iOS app enables wireless control of the consoles over Wi-Fi. It has been designed to be intuitive for users of all levels, from monitor engineers to performers. It can be limited to allow a user to individually control an aux mix, or used to control all mixes from a single interface. To supply

A USB mixer designed for life on the road

TOURING MUSICIANS are the target demographic for PreSonus with its StudioLive AR USBseries hybrid mixers. The series comprises three models: the 18-channel StudioLive AR16 USB, 14-channel StudioLive AR12 USB and 8-channel StudioLive AR8 USB, all of which are designed to be compact, lightweight and versatile, allowing for simple transportation, while maintaining the analogue connections and digital tools required for both studio and live performance applications.

Each of the StudioLive AR USB mixers is compatible with Windows and Mac OS via a USB 2.0 audio interface that captures all input channels as well as the main mix. Included with the mixers is the manufacturer’s Capture live-recording and Studio One 3 Artist DAW production software, enabling users to record, mix and distribute music. An onboard stereo SD recorder also features on the AR16, AR12 and AR8, allowing the recording of a main mix without computer, while also providing the

track.

Additionally, the mixers include PreSonus’ Super Channel, facilitating the simultaneous playback of audio from four stereo sources. These sources are Super Channel’s unbalanced RCA

the onboard SD recorder and the USB connection. Bluetooth 4.1 is also built-in to each of the mixers, enabling users to pair a smartphone or tablet and gain wireless access to their music libraries.

The I/O connections also featured on the USB mixers include Class-A mic preamps, instrument and line

personal mix control to several performers at once, up to 10 iPads running the app can be connected simultaneously. The app’s Menu and Bank buttons can be repositioned on either the left or right of the screen, depending upon the user’s writing hand orientation.

Making use of the manufacturer’s Query technology, TaCo allows for only the channels that are contributing to the selected aux to be displayed, negating the need to navigate through irrelevant channels. Input channels can also be categorised into sub-groups via the Live console’s Stem groups. The app is available for free on the App Store and users require an L300, L500 or L500 Plus console operating with V3.2 software or higher.

www.solidstatelogic.com

inputs. Also included are semiparametric 3-band EQ and an internal stereo effects processor. On the software side of things, PreSonus has updated its VocALign audio alignment tool to be compatible with the ARA (Audio Random Access) extension.

ARA technology is the result of a collaboration between PreSonus

and Celemony Software and provides audio plugin interfaces with enhanced DAW communication and instant audio data access. Existing VocALign licensees can download the updated ARA versions of VocALign Project and VocALign Pro for free.

www.presonus.com

The StudioLive AR16 USB mixer.

Nucleus2 comes in white

VocALign has been updated with ARA technology

Midas builds a bridge

The Ui series interface has been improved

Soundcraft enhances Ui series interface

THE NEUTRON-NB is an expansion module compatible with Midas’ Neutron audio system engine available for the Pro X digital console that serves as a network bridge. It provides a multi-channel interface between a pair of digital audio networks from third parties. When added to the Pro X with a Neutron engine, the network bridge offers up to 64 extra bidirectional channels between two independently clocked domains, operating at differing sample rates. It also features a 10-port AES50 interface that can be routed for additional

network expansion and facilitate 240 bidirectional channels at a 96kHz sample rate.

Midas has also drawn upon the digital audio networking technology of Klark Teknik. The Neutron-NB includes two expansion slots that have the ability to add network modules from the Music Group sister brand, including the KT-AES50, KTDANTE64, KT-MADI and KT-USB.

been released for the M Series digital mixers, with V 3.0 delivering added networked system control for users of the M32, M32R and M32C. Included

in the update are new versions of the M32-Edit (Windows, Mac OSX, Linux and RPi2) and M32-Mix (iPad) remote control apps, which now incorporate touch-optimised and scalable UI, keyboard shortcuts and

The update also features the new Automixing functionality that facilitates phase inversion for local, aux and Ultranet outputs, X-Over capabilities over Ethernet or Midi from compatible consoles.

www.midasconsoles.com

Crest teams up with Waves for portable hybrid mixing

PEAVEY’S CREST Audio mixer division unveiled its Tactus digital mixing consoles at this year’s BPM Pro show. The hardware/ software hybrid solution has been developed in partnership with Waves, integrating the Waves SoundGrid plugin suite and eMotion LV1 software mixer application with three hardware units: Tactus.FOH, Tactus.Stage and Tactus.Control.

Tactus.FOH acts as the system’s audio processing core, while the Tactus.Stage is a 32-in/16out remote stage box with an integrated Ethernet switch for networking.

While full functionality is achievable with the softwarebased LV1 mixer, the third hardware component, Tactus. Control, is a motorised fader board complimenting the LV1 UI by providing moving faders, illuminated buttons and knobs for the most commonly used functions.

TouchMix goes pro

QSC IS targeting both production professionals and live performance venues with the newest addition to its TouchMix Series, the TouchMix-30 Pro. A 32-channel compact digital mixer, the device has been designed with an ‘enhanced feature set’ that will reportedly deliver an intuitive and live applications. The manufacturer stated that the mixer is also suitable for musicians. The unit’s 32 mixing channels

comprise 24 mic/line, six line, stereo and USB. In addition to increasing the number of channels when compared to its predecessors, the TouchMix-30 Pro has 16 outputs that add to the level of management.

Also included are the ‘pro features’, from which the console takes part of its name. These include: a 10-inch multi-touch touchscreen, anti-feedback and room tuning wizards, a pair of real-

It incorporates 16 main and two master motorised faders, as well as Mute, Cue and Select buttons and a multi-line scribble strip display, which can be made to follow screen layer selections or be locked on a layer for expanded control.

www.peaveycommercialaudio.com

SOUNDCRAFT HAS made improvements to the user interface for its Ui series of remote controlled digital mixers.

functionality for users who access the system through phone, tablet or computer.

The user interface upgrade for those mixing via any of these devices includes Aux Send mute inheritance, stereo/unlink L/R master DYN; and player list font changed for language support. In addition to this, tablet and computer users will also be able

levels, do manual data entry, mute FX/All for player page, F1/ F2 next and previous snapshot functions, while there is also pedal footswitch play/record functions.

The Harman-owned manufacturer has also used the general improvements to the series. These include more robust on start-up, and a feature to reset local user settings to default.

www.soundcraft.com

Qu Series gains AudioTechnica mic presets

NEW PRESETS for Audio-Techinca microphone models have been added to Allen & Heath’s Qu Series digital mixers. The ProFactory Mic presets package aims to provide channel library presets for industry leading microphones. The new Audio-Technica presets include settings for MB, ATM and Pro series microphones, joining the existing library of Sennheiser e600, e800 and e900 series models and PGA, SM and Beta series from Shure. According to the British manufacturer, the team at Allen & Heath has worked closely with engineers at each manufacturer to ensure that the optimal settings

A&H has introduced mic presets for various several brands

were applied for each mic paired with the Qu’s AnalogiQ Preamps. The presets can be downloaded from the Qu series product pages on the A&H website.

www.allen-heath.com

time analysers, a touch-and-route patch matrix and eight sub-groups with 6-band full parametric EQ as well as 32-channel direct-tohard drive record and playback functionality, a 32-channel DAW interface for Apple computers and USB MP3 playback. Also featured are 24 Class-A mic preamps, 14 mono mixes that can be paired for stereo, 120 presets and six stereo effects processors.

www.qsc.com

Tactus.FOH

The TouchMix-30 Pro is designed for both production and live applications

The Neutron-NB

Professional transducers that hit the highs and lows

RCF HAS released a trio of additions to its range of Precision Transducers: one for the high frequencies, two for the lows.

The ND340 professional high frequency transducer is a neodymium compression driver. It features a polyimide diaphragm, voice coil assembly, which utilises a high temperature Kapton former. With continuous programme power handling of 100W, a 1,200Hz to 20kHz frequency range and a 2-slot geometry phase plug the ND340 is designed for use with compact two way systems, multiple-way systems and compact arrays, while offering a

transducer, the LF18N405

Alcons heads into the

A NEW model has been added to Alcons Audio’s CRMSC speaker family to cater to the requirements for immersive surround systems.

The CRMSC-SRHOR is designed as a matching surround system for any small-to medium-sized CRMSC Cinema Reference Monitoring solution and houses identical MHF components as the rest of the series but in a horizontal arrangement. It can also be used as a main screen

round

system in smaller applications, with low-frequency support. According to the manufacturer, the model combines clarity and intelligibility with an ‘unusually high’ dynamic range. Internally, it comprises a single 90-degrees horizontal dispersion RBN202 pro-ribbon HF driver that has a 400W peak power input and is reportedly capable of a 1:16 dynamic range with up to 90 per cent less distortion between 1kHz and 20kHz. A vented 6.5-

inch mid-bass driver handles LF reproduction.

Tbe CRMSC-SRHOR enclosure

Self-powered portable PA

noise as well as high sonic quality and low distortion. Pascal has also implemented its UREC Power Factor Correction power supply technology with U-PRO, to allow operation with universal AC mains power, while the system has negating the need for heat sinks and cooling devices and adding to its long-term reliability.

reportedly delivers ‘powerful and accurate bass frequencies with low distortion, low power compression and very high SPL’. It makes use of

large triple roll surround to offer strength and control, while also boasting a single spider system designed with a heavy cloth for added control to withstand large

modulation, RCF has incorporated voice coil ventilation and reduced power compression are offered by the unit’s dual-forced air venting magnetic structure system.

The manufacturer states that the LF18N405 is ‘designed for touring and perfect for high-

bandpass enclosures’. It includes a 4-inch inside/outside copper voice coil, 3,000W continuous sensitivity and frequency range of 25Hz to 1kHz.

Meanwhile, the LF21N401 is ‘designed to provide powerful and accurate sub-bass frequencies with low distortion and low power compression with a fast response’. In addition to a large triple roll cone assembly. It maintains many of the characteristics of the LF18N405, although its sensitivity

T/m is described as providing a quicker and accurate low frequency.

www.rcf.it

aiding wall or ceiling mounting, and European RAL colour scheme. For increased headroom and optimum

performance, the manufacturer encourages the use of its ALC controller. Furthermore, the Signal Integrity Sensing pre-wiring in the ALC provides cable and connector compensation between it and the speaker. According to Alcons, this accuracy, regardless of cable length and system impedance’.

www.alconsaudio.com

Danley puts new Jericho horn on a diet

FOLLOWING ON from its T-PRO, Pascal has continued down the alphabet with the launch of the designed for self-powered portable installations. The series comprises two modules, the U-PRO 1 and the U-PRO 2, that provide single 280W at 4-ohms and 280W + 100W asymmetrically rated two way power channels respectively. With voltage rails that are relatively high for its RMS power

output, U-PRO possesses 280W RMS ratings and can reportedly deliver ultra-short bursts of 1,000W peak power or 500W RMS. This, the manufacturer states, supplies the ‘power requirements for cost effective, high SPL self-powered portable PA’.

With dimensions of 38mm

modules are particularly aimed

manufacturer boasts low residual

available to support integrated DSP, network and analogue I/O boards, which can all access protect/ mute, temperature and clip signal readouts, as can wireless control interfaces. The modules’ standby power consumption is EuP2013 and green energy star compliant and an Auto Standby/Wake-up feature that includes selectable time settings has been built in to keep U-PROs 1 and 2 in line with any future regulatory requirements.

www.pascal-audio.com

THE NEWEST member of the Jericho horn family has been unveiled by Danley Sound Labs as the 18-driver-strong J3-94. Designed to meet the requirements for high impact, stadium and concert venues, the new Jericho horn reportedly delivers 142dB of continuous output by combining the output from its 18 individual drivers into a ‘single phase-coherent signal with ‘Hi-Fi quality’ intelligibility.

The J3-94 produces a 90-degrees horizontal by 40-degrees vertical beam width with the Jericho’s characteristically steep dropoff outside of the beam. While weighing nearly half that of the original J1-94, Danley promises that the compromise is just ‘slightly less bass output’.

The unit is a tri-amped cabinet using four amp channels: two for the lows, one for the mids, and one for the highs. The 18 drivers inside

woofers, eight 6.5-inch mids and four 1.4-inch highs with built-in overload protection. It comes as on top and bottom and L track mounting.

www.danleysoundlabs.com

The ND340 is a neodymium compression driver

Alcons’ CMRSC-SRHOR

Danley’s J3-94 Jericho horn

The U-PRO 2 amplification module poses with PA and fixed install loudspeakers

xS-Series additions seek new permanent home

FOLLOWING ON from the

d&b audiotechnik last year, the German manufacturer has now unveiled new point-source speaker models intended for permanent installation in environments such as nightclubs, live performance spaces, houses of worship, and sports venues. Named the 24S and 24S-D, the two new models join d&b’s xS-Series, which also features redesigned front grilles to make the series less obtrusive.

Accompaning the point-source models is the single 21-inch 21S-SUB subwoofer. Differing in their horizontal dispersion characteristics, with 75-degree x 45-degree (h x v) for the 24S and 110-degree x 45-degrees for the 24S-D, both models house dual 12-inch LF drivers in a dipolar arrangement together with a single horn loaded 1.4-inch exit compression driver, which is rotatable for mounting either vertically or horizontally.

According to the manufacturer, ‘by separating the LF drivers they achieve constant directivity control in the same plane as the dipole down to approximately 500Hz’. The result of which is said be less transmission of energy into

Renkus-Heinz networks with Dante

increased gain before feedback. Both models offer a frequency response from 55Hz to 18kHz, but for those catering to bass-heavy applications, the matching single 12-inch in standard mode offers a frequency response from 35Hz to 100Hz. It can also be run in Infra mode and used to support other d&b subwoofers, extending the LF performance to 33Hz with an upper limit of 85Hz. In combination with

21S-SUB produce SPLs of 138dB, 137dB and 134dB respectively. In terms of construction, d&b has opted for a larger volume cabinet design to aid with low frequency reproduction but states the cabinets ‘are modest enough to preserve sight lines and overcome rigging and placement restrictions’.

www.dbaudio.com

IN RESPONSE to increased uptake and higher demand for Audinate’s Dante networking technology, Renkus-Heinz has released Dante-enabled versions of its Iconyx Gen5 and IC Live cabinets. The manufacturer has also made –RD versions of its Iconyx IC Series and IC Live ICL-F Series units, providing them with dual redundant Dante connectivity facilitating audio transport as well as sample 96kHz.

On the software end of the spectrum, the manufacturer has unveiled an update to its Rhaon II software package, with the release of Rhaon 2.1 supporting Dante connectivity. The update also features more than 200 software enhancements, such as allowing for multiple zones, delivering the newly-developed Device Icon View mode for large setups, simple generation of system status reports for all

Renkus-Heinz speakers, such as the IC8-RD, are now Dante enabled

device parameters and the ability to copy and paste DSP settings across different types of device.

www.renkus-heinz.com

The three new xS Series additions

Ferrite additions to Flashline Monitors

An updated Display for the MLA Series

TO ENSURE that its Display software package provides the most accurate prediction and array optimisation possible, Martin Audio has released version 2.2. Display is designed for use with the manufacturer’s MLA Series, delivering a numerical optimisation process to remove

information.

TURBOSOUND HAS upped the number of available Flashline Monitors to six with a pair of ferrite driver models. The TFX122M-AN and TFX152M-AN join the existing four powered and switchable passive/bi-amp 12-inch and 15-inch neodymium wedges in the range. The new 12-inch and 15-inch additions are also slightly lower powered, featuring 1,100W of peak power as opposed to the 1,400W from their neodymium siblings. A further difference can be found with the dome compression driver. For the new models these are in the form of 1-inch titanium tweeters, whereas

the original four use 1.4-inch neodymium units.

are very similar. As with the rest of the range, both new models have a nominal dispersion of 60-degrees horizontal by 40-degrees vertical and feature DSP from fellow Music Group brand, Klark Teknik. The family of wedges work individually without a controller so feature a user interface via LCD display or remote control via Turbosound’s PC Edit software, while connectivity is again via Music Group’s Ultranet digital audio network.

www.turbosound.com

IC Audio goes truly wireless

Operating on ‘the latest devices’ and Windows, Display 2.2 reportedly offers increased accuracy, with re-measured and recalibrated acoustic data, and an optimised hard avoid. The manufacturer states that improved sonic consistency is also supplied as elemental EQ is now full-band on all MLA systems, while the series’ arrays will demonstrate response. Splay optimisation is also described as taking approximately 30 per cent less time than in previous versions of the software and the new Express Setup tool has been added for when standard arrays and default setting are used.

The update boasts a Matlab graphics system and enhanced usability with more room in the EQ tab provided for the audience and goal value graphs, simpler access for reference level, an auto-scale frequency response plot in the SPL view, and the ability to generate rigging reports for printing for any type of system. Display 2.2 has been distributed to existing MLA owners

automatically and has been released simultaneously with Martin Audio’s VU-Net 2.0 control and monitoring software, which allows for the adaptation of the input EQ to the new output from both updated software packages. It also supports CDD-Live, for comprehensive control and monitoring of the manufacturer’s systems.

www.martin-audio.com

The Vâri family gains new designs

HARBINGER HAS added to its Vâri catalogue with the Vâri 2200 Series, which comprises new 12-inch and 15-inch full-range powered loudspeakers, as well as the addition of a powered subwoofer in the form of the 18-inch V2218S. Constructed for use across a range of applications and venue types, the new models are reportedly lightweight while offering ‘a fresh, modern, angular look and improved electrical and acoustic design’.

IC-Audio’s DL-WiFi 60 plus wireless speakers

GERMAN EN-54 specialist, IC

Audio, has gone complete wirefree with its latest offering, the DLWiFi 60 plus ceiling speaker. The product, an active powered stereo ceiling speaker pair, allows to users to stream music/audio to it via a local Wi-Fi network. Boasting the two-way DL-WiFi 60 plus models connect with and can be controlled by the manufacturer’s WiFi-Control 60 application, which can be downloaded from the Google Play Store and Apple App

Store for free. The app supports Apple AirPlay, for direct streaming from an iPhone, iPad, iPod touch. A single pair can be expanded up to eight speakers (four pairs) for increased audio converge.

A ‘sophisticated’ built-in softclipping function aims to guarantee a balanced sound at very high volumes, while the speaker’s frameless design offers also a magnetic grille for an unobtrusive installation.

www.ic-audio.com

The 12-inch V2212 is an updated version of the V2112, designed to deliver detailed and intelligible sound for applications such as spoken word, vocals and acoustical instruments. The V2215, meanwhile, follows on from the 15-inch V2115 and is described as being best suited for reinforcing DJs and bands, providing ‘even more deep bass’ than its predecessor. Both speakers include Class-D 600W limiter, preventing damage via transient peaks. They are built with steel grilles for durability and

balanced handles on the top and sides for ease of transportation, as well as an LED clip indicator that informs users of when they are overdriving the system. A pole mount is also included for use, depending on the application and setup.

As with the older models, the V2212 and V2215 feature a threechannel mixer and a two-band EQ. Channel 1 comprises a switchable mic/line input, XLR and ¼-inch

jacks, while Channel 2 consists of ¼-inch and RCA line inputs, and Channel 3 delivers an aux input for connecting mobile devices. A balanced XLR line out enables the connection of multiple speakers for larger applications.

The V2218S subwoofer has also been produced with DJ sets and concerts in mind, and incorporates the same optical limiter and LED clip indicator as its loudspeaker siblings and contains an 18-inch low-frequency driver that’s powered by 1,500W Harbinger has enabled users to select between 90/120Hz frequency control, input level control and 0-degree/180-degree input-polarity switch via the unit’s integrated crossover. With a pair of XLR/¼-inch combo inputs and XLR outputs of the selectable full-range link or highpass variety, the V2218S is also coupled with a pole mount and boasts heavyduty casters, steel grille and balanced side handles as part of its architecture.

www.harbingerproaudio.com

Display 2.2. has been released alongside VU-Net 2.0

Turbosound has added the TFX152M-AN to its Flashline Monitor range

The Vâri 2200 Series joins the Harbinger family

Dynaudio lays out the Evidence

A NEW model in Dynaudio’s Pro series of high-end studio monitors is aiming to stand (quite literally) head and shoulders above the competition. Built to order in Denmark, the passive to integrate the manufacturer’s Dynaudio Directivity Control (DDC) technology, which reduces for a more transparent and detail listening environment. According to the product manager, Sebastian allows you to hear what is really going on and that helps you to make those crucial decisions when dynamics’.

The DDC technology controls sound radiation by utilising a vertical, symmetrical drive unit

crossover topology – a reduction

SpeakerCraft takes Aim

CORE BRANDS-OWNED manufacturer, SpeakerCraft, has taken the key technologies it developed for its Aim Series 2 in-ceiling speakers and applied it to a pair of in-wall left-centreright (LCR) cabinets. The headline inclusion that the Aim LCR5 Five Series 2 and Aim LCR5 Two Series 2 speakers take from the in-ceiling siblings is the manufacturer’s Arrayed Point Source (APS) tweeter module APS incorporates three pivoting titanium dome tweeters mounted According to SpeakerCraft, the extra surface area from the three tweeters enables a lower crossover point which delivers extra

sound pressure in the midrange frequencies.

Away from APS, both of the new models incorporate dual, 5.25-inch woofers angled within the assembly as well as SpeakerCraft’s Acoustic Isolation Technology to minimise acoustic energy transfer to the mounting and surrounding surfaces.

As for the key statistics, the Aim LCR5 Five Series 2 matches its two woven Kevlar cone woofers with 1-inch custom titanium dome tweeters. It boasts a 48Hz to 22kHz frequency response with a power handling of 190W at 8-ohms. The Aim LCR5 Two Series 2 pairs its two glass and carbon

of approximately 75 per cent promises the manufacturer.

soft dome tweeters, two 5-inch mid-range drivers and four 7-inch woofers matched to a drive unit. The basic crossover design is 5-way, with crossover frequencies at 290Hz, 480Hz, 2.2kHz and 8.5kHz. The total frequency response covers 28Hz to 25kHz, while the models have power handling of up to 550W at 4-ohms. To implement DDC in the lower frequencies, the woofer cabinets are positioned directly above and below the mid- and high-frequency driver middle section to provide a more equally spread LF radiation.

www.dynaudio.com

The Next small HFA speaker

A NEW 6.5-inch passive added to the HFA speaker series to complement the series’ larger existing models. Destined for use in small live performances, installations, or

dome tweeters. It delivers a frequency response of 52Hz to 20kHz with a power handling of 135W at 8-ohm impedance. One of the key applications that SpeakerCraft can see for its in-wall speakers is with object-based surround audio systems. Both units have the ability to pair with the manufacturer’s Dolby Atmos enabled in-wall height speaker –the ATX100.

The ATS500 System pairs the Aim LCR5 Five Series 2 with the ATX100 behind a single grille. The ATS200 System combines the Aim LCR5 Two Series 2 with the height module, also behind a single grille.

www.speakercraft.com

setup, the HFA106p offers a user-rotatable 90-degrees x 40-degrees coverage pattern from its 6.5-inch custom low frequency driver and 1-inch custom compression driver. This results in a stated frequency response of 82Hz-18kHz, a peak SPL of 124dB and sensitivity of 92dB.

Weighing 12.7kg, the HFA106p enclosure is made from birch plywood and is coated with a scratch-resistant textured paint. To aid with the deployment of two-way portable systems, companion HFA112s, HFA115s, and HFA118s subwoofers use an integrated 2-channel digital range passive speakers.

www.next-proaudio.com

The simplified M5P backplate

The Aim LCR5 Five Series 2 has two woven Kevlar cone woofers

The NEXT-proaudio HFA106p

Dynaudio’s first Pro Series far-field monitors

Aperta 300 stands toe-to-toe with the heavyweights

THE NEXT

Aperta 300 stands have been the Aperta 300 stands are also measure 300mm x 200mm x 75 systems from a wide variety of manufacturers.

AMC adds weather protection to Viva

AN IP-RATED version of AMC Baltic’s Viva 4 wall-mount plastic speaker series has been unveiled by the Lithuanian company. The Viva 4IP is IP-55

Rated at 20W (8-ohms) with a frequency response of 90Hz20kHz and a sensitivity of 89dB features a four-inch woofer and 1-inch silk tweeter. The enclosure measures 205mm x 188mm x 132mm and is available in black

www.amcpro.eu

clarity and performance. The stands also include tilt adjustment to allow users to precisely match the

The manufacturer states that Aperta openness.

www.isoacoustics.com

Aperta 300 is designed for heavier speaker systems

The AMC Baltic Viva 4IP loudspeaker

Radius gains EAWmosaic control

iOS USERS can now find EAW’s EAWmosaic app available for free download in the Apple App Store. The application is designed to provide users of its Radius system with wireless remote control and monitoring capabilities from an iPad. With the iPad connected directly to a Radius system via a single cable, the app is also capable of providing multichannel audio from any Dante-enabled source, such as a front of house mixing console. According to the manufacturer, end users can

EAWmosaic is an iOS control app

‘create system design proposals, complete with acoustical predictions, in minutes while

Amate brings TriPhonic into the 21st Century

A ‘REVAMPED’ version of Amate Audio’s classic 30-yearannounced by the Spanish loudspeaker manufacturer. The original TriPhonic

standing in the design space’.

www.eaw.com

Adding to the list of Essentials

reinforcement as well as to serve as a part of a distributed PA sound system.

The eRK108 is built with an 8-inch woofer, 0.5-inch tweeter and is capable of 60 WRMS at 8-ohms, while featuring a 70/100V line transformer. It has been constructed as a cost-effective ground loudspeaker for both inside and outside use.

well as a 70/100V transformer with four power taps.

Finally, the eUC106 is only for inside installations. A spherical pendant loudspeaker, it features a 6.5-inch woofer, 0.5-inch tweeter and 40 WRMS at 8-ohms with a 70/100V line transformer.

www.ecler.com

Ecler’s eRK108 is a cost-effective ground loudspeaker

ECLER HAS expanded its Essentials range with the addition of four installation loudspeakers, three of which can be used for outdoor applications, as well as inside. The new products are targeting installs within retail shopping environments, clubs, bars, cafés and gyms, as they are designed to provide background

Also suitable for use indoors and out are the eCS403 and eCS803 column speakers that are both built with an aluminium enclosure, are rated IP44 outdoor class and bundled with a wall bracket. The eCS403 possesses four 3-inch woofer transducers and boasts 50 WRMS total power at 4-ohms, while the eCS803 has eight of the woofer transducers and 100 WRMS total power at 8-ohms. Both units offer low impedance direct connection as

The spherical eUC106

Performance Manager gets Smaart

JBL PROFESSIONAL has released an update to its audio network

HiQnet Performance Manager, with version 2.1 providing measurement integration with versions seven and eight of Rational Acoustics’ Smaart analyser. This allows users of the Harman brand’s software to access measurement data in real time over a wireless network from a computer running Smaart.

Performance Manager 2.1 also brings a range of improvements to the software’s go-online mode, adds functionality to the select input sources mode, improves upon user groups and updates the line array control panel.

improvements as have the add speakers mode, the new run show mode and the line array calculator.

The error-reporting tool has new functionality and the speaker presets have been updated. Preset support for CSX F35 has also been added.

of the update as well, tackling issues such as the high CPU usage when meters were running,

were set to 1kHz and the opening Localisation settings. A further update – Performance Manager 2.1.1 addresses a Generic Speaker creation issue and allows the software to be run on the same computer as Audio Architect.

www.jblpro.com

witnessed great success as a onestop shop solution for L/R satellite and sub systems.

Named the TPD 2.1 (TriPhonic Digital), the revamped model draws on the same design in the digital domain, with Class-D amp circuitry, onboard digital signal processing and a switched mode power supply added. DSP

peak/RMS limiters and delays for the time alignment of amp channels. Despite these additions, the manufacturer also promises the same simplistic operation as the classic model. With the device weighing 8kg, its stereo channels each provide 500W of power, while the dedicated subwoofer channel offers 1,000W – all at 4-ohms.

The universal switched-mode power supply includes active Power Factor Correction, enabling it to operate in any mains condition between 85V and 240V AC. For power saving, a builtin EcoMode puts the unit into standby mode in the absence of an audio signal. For additional control options, a computer running Amate’s DSPLink software can be connected via USB port.

www.amateaudio.com

Sennheiser keeps the noise down

THE THREE-MEMBER 27 Series of broadcast headsets has been designed to comply with the EC directive on noise in the workplace. All three models include Sennheiser’s switchable ActiveGard function that reportedly protects commentators against noise bursts. ActiveGard has been designed to detect noise peaks above 110dB, and compress the signal to this level, ensuring that any transmitted information remains fully comprehensible.

Taking this one step further, the HMDC 27 also features switchable NoiseGard active noise reduction. This technology reportedly increases intelligibility while also protecting the user’s hearing and avoids noise-induced stress and fatigue. The active noise reduction does not require batteries but is powered via the P48 power supply from the broadcast desk. The other two members of the series are the HME 27 and the HMD 27. These differ in their microphone type. The HME 27 offers an electret microphone while the HMD 27 has a dynamic microphone. The mics for all three members of the series have again been designed with noisy

environments in mind. The HME 27 has a pre-polarised condenser microphone with cardioid pick-up pattern (frequency response: 40Hz to 20kHz), while the HMD 27 and HMDC 27 possess a hyper-cardioid boom microphone with a frequency response of 40Hz to 18kHz. The headphones have a stated frequency response of 8Hz to 18,000Hz and a THD below 0.1 per cent (measured at 1kHz, 100dB SPL). The cable has a small number of coils near the earcup that the manufacturer states acoustically decouples the headphones from handling noise.

www.sennheiser.com

The HMD 27 with dynamic boom microphone

Amate Audio’s TPD 2.1

Performance Manager 2.1 is available to download

Yamaha technology in new forms

YAMAHA HAS spotted a growing industry trend of headphone monitoring within both live sound and studio environments. In response to this, the manufacturer has expanded its MT Series with the launch of the HPH-MT8 and HPH-MT5 professional monitor headphones. Both new models are designed to deliver the sound quality, stereo imaging and source signal reproduction of the NS-10M studio monitor, while including the isolation that headphones can offer. Built for comfort when users are in the midst of a lengthy monitoring session, the HPH-MT8 and HPH-MT5 have been built to withstand life on the road with a closed-back, housing, while the headband is reportedly sweat resistant. The ear pads have been constructed with synthetic leather and low-resistance cushions to absorb vibrations and decrease leakage. To add to the comfort levels, both units include three-dimensional arm pivoting functionality and an adjustable slider length. The HPH-MT8 also facilitates single-ear monitoring with aluminium support arms and steerable earcups. Custom drivers equipped with

45mm (HPH-MT8) and 40mm incorporated with neodymium

These deliver the MT8 and MT5 with frequency responses of 15Hz-28kHz and 20Hz-20kHz respectively. Both units are bundled with a detachable 3m straight cable and a 6.3mm stereo adaptor, while the MT8 also comes with a detachable 1.2m coiled cable.

In the spirit of transforming the

technology of one of its systems into that of a different form, Yamaha has released the TF-Rack, which introduces the TouchFlow Operation of the manufacturer’s TF Series in a a 3U, 19-inch rack enclosure sits an all-in-one 16+1 stereo input and 16 output digital mixer. It is built with the same touchscreen as the TF1, TF3 and TF5 consoles that combines the manufacturer’s Selected Channel and Centralogic interfaces. The Touch & Turn control has also been lifted from the consoles, providing the ability

are QuickPro Presets, designed for microphones to enable quick setup, while remote control is offered by way of wireless apps, such as TF

Editor, TF StageMix and MonitorMix. TF-Rack utilises Yamaha D-PRE input and output channel processing via eight processors that feature analogue XLR/TRS combined mic/ pin line inputs and eight analogue XLR outputs and a further eight analogue outputs of the TRS variety, the rack mount mixer includes an expansion slot to add an optional NY64-D audio interface card, which alongside a Tio1608-D I/O rack unit, can facilitate a basic Dante with 40 input mixing channels, 20 Roll-Out, while offering 34 x 34 digital record/playback channels that are accessible through USB 2.0 + 2 x 2 and a USB storage device.

Launching alongside TF-Rack is compatible with the entire TF Series, adding support for setting up limitedaccess user accounts and additional QuickPro Presets.

support to its Dante-enable products. Currently, 24 of the manufacturer’s systems possess Dante networking capabilities, and these will be supplied with device and Dante will allow Dante and Ravenna devices to work together in broadcast systems that offer unprecedented Tsugawa, director of Yamaha’s pro audio business unit.

www.yamahaproaudio.com

The HPH-MT8 also allows for single-ear monitoring

Yamaha’s HPH-MT5 headphone studio monitor

TF-Rack is the latest addition to the TF Series

ULX-D patch adds security and stability

FIRMWARE UPDATE

2.0.19 for Shure’s ULX-D digital wireless systems provides support for the manufacturer’s Access Control functionality, which protects systems from unauthorised changes. This is because it allows a user to assign a PIN to networked devices, while the software will monitor them and only grant access to those that enter the correct authentication code. The update also reportedly

provides improvements to audio stability in marginal RF conditions,

high-pitch noise issue.

Those who download the update,

opens up Tesla to the market

found on the Shure website, are advised to complete the procedure for both receivers and transmitters as version 2.0.19 and any following releases will not be backwards versions. Also included is an update to the system’s Dante software, in addition to myriad

www.shure.com

Schoeps miniaturises the CMIT

FOLLOWING THE development of its CMIT 5 and SuperCMIT microphones over a decade ago, Schoeps has now developed the MiniCMIT.

Distinctive for its

tube/capsule, combining high directivity and minimal colouration

distinguishes itself by incorporating two capsules with DSP for enhancing directivity across a wider range of frequencies, whilst the MiniCMIT and CMIT 5 models share the same circuitry with similar

without altering the sound. Measuring 151mm in length and 21mm in diameter, the MiniCMIT offers increased directivity at high frequencies, allowing it to better suppress lateral sound. A selection of applicable windscreens and suspensions are available for all three models.

www.schoeps.de

THE LATEST reference-class model in beyerdynamic’s Pro series has been announced as the DT 1990 Pro, integrating the German manufacturer’s Tesla drivers like its sibling, the DT 1770 Pro. Describing the Tesla technology as ‘highly responsive

half the thickness of a human hair’, the German audio specialist says the result is distortion-free reproduction at all signal levels.

When Pro Audio Asia interviewed its visionary, Mario Gebhardt, back

magnetic system you can combine it with very lightweight coils to get a very good transient response.

In the past, you could optimise a system for high SPLs but you would normally compromise on the transient response’.

The difference between the two Pro Series models is that the DT 1990 Pro features an open-

back design, limiting its use to soundproof environments, where as the DT 1770 Pro is closed-back and subject to less environmental interference.

Two different variants of replaceable memory foam ear pads ship with the unit – one favouring ‘neutral, analytical sound’, and the other ‘a warmer tuning with more bass’. Two cables, one straight and one coiled, also ship with the headphones and connect to the device via mini-XLR.

www.beyerdynamic.com

Shure has released a

CEDAR Cambridge adds more forensic tricks to its arsenal

THE LATEST round of updates for CEDAR Audio’s Cambridge line has seen Cambridge V11 gain several new forensic audio tools – audio enhancement, dialogue noise suppression and restorations modules – joining the existing suite of more than 30 audio tools. According to CEDAR, these have been presented with simplicity of operation and speed of use in mind, offering Learn and Auto functions where possible to determine the optimum processing parameters. A derivation of the manufacturer’s CEDAR Trinity surveillance systems typically supplied to law enforcement agencies has also been released for audio forensic use in Cambridge. It is stated to provide four related tools that, through the use of four sliders, allow users to suppress background noise, reveal voices and increase the intelligibility of speech. It also allows users to enhance the background if that contains wanted detail. Once again ease of use is the focus

with Cambridge Trinity Enhance, as the manufacturer claims that material to a standard that would have seemed impossible a few years ago.

Finally, the Declip tool present in Cambridge V10 has been

Master Fader v4.5 supports

Axis

replaced with Declip-2, based on an improved algorithm. As with the previous version, the process looks to identify and remove most instances of clipping in a single real-time pass, however a new adaptive Auto mode which tracks changes in the amplitude at which clipping occurs, aims to eliminate distortion and restore the original dynamic range of the signal with a single-button press. Manual controls are also supplied for tweaking the results if desired. Cambridge V11 will be shipped with CEDAR’s Cambridge Series IV host systems running Windows 10 Pro 64-bit. It will reportedly run successfully on all previous Series IV hosts as well as CEDAR Cambridge Series III hardware (with a new video card) running Windows 10 Pro 64bit or Windows 7 Ultimate Pro. Some earlier systems may also support Cambridge V11, but the manufacturer stresses that performance will be compromised and some features and modules will not be available.

www.cedar-audio.com

Apogee goes back to the Elements

DRAWING ON features and

Symphony I/O Mk II and Ensemble

Thunderbolt products, Apogee has unveiled the Element Series software/hardware-controllable

Thunderbolt audio interfaces.

The three new models – Element 24, Element 46 and Element 88 – are stated to offer Ensemble Thunderbolt’s recording quality in simple form factors.

In addition to this recording capability, the Element series introduces software control to provide additional functions that can’t be achieved in the hardware domain, for example, allowing their needs and control the device remotely via Wi-Fi using the Element Control for iOS App.

Users of Apple’s Logic Pro X are able to adjust Element’s I/O settings directly from the Logic channel strips, while for those wanting more traditional desktop control, the optional Apogee Control hardware features a Duet like form-factor with eight assignable buttons and a master control knob.

The various models differ only in their I/O capability. Element 24 offers 10 inputs and 12 outputs. This is expanded to 12 inputs and 14 outputs for Element 46, and further to 16 inputs and 16 outputs for Elements 88. AD/DA conversion for all three models is stated to be 192kHz/24-bit, while round-trip latency when operating at 96kHz with a 32-bit buffer setting is 1.41ms. Any two Element audio I/O boxes can also reportedly be connected directly to Thunderbolt ports on your computer thanks to

multi-unit Thunderbolt support.

In addition to Element, Apogee has launched a Dante Network Symphony I/O Mk II audio interface, meaning the device now offers Dante, Thunderbolt, Pro Tools HD and SoundGrid connectivity. The Symphony I/O Mk II Dante option card uses Audinate’s Dante Brooklyn II module, which features plug and play media networking for up to 64 bidirectional channels at 48kHz.

www.apogeedigital.com

MACKIE HAS released a free update for its Master Fader iOS app. Master Fader v4.5 provides support for the manufacturer’s Axis digital mixing system in addition to delivering control for the DL32R, DL1608 and DL806 digital mixers.

Due to popular demand from Master Fader’s existing user base v4.5 also offers new reverbs with a new advanced control section.

To assist users in balancing volume across the audible spectrum in the form of a visual tool, the update adds

wired mic

AIMED AT videographers, TASCAM’s DR-10L is a compact body-pack recorder and lavalier microphone that is designed to offer the audio quality and features of its bigger brothers, the DR-10X plug-on ENG and the DR10SG shotgun mic recorders. As the recorder can be concealed at a subject’s hip, the DR-10L removes the unpredictability that arises with wireless solutions, such as interference, while remaining inconspicuous.

The unit is powered by a single AAA battery that reportedly provides 10 hours of recording. It records 48kHz/24-bit Broadcast or microSDHC cards. The features that DR-10X draws from its siblings include a built-in limiter for preventing distortion, a low-cut

and an OLED display designed to be readable in direct sunlight. The

a spectrograph to the app’s real time analyser (RTA). The combined RTA/spectrograph tool has been made visible on every input channel, which was not the case with the RTA feature alone, prior to the update.

Additional features include new factory presets for EQ, dynamics and FX, new metering ballistics options, such as selecting the time period that the meter holds an RTA peak level for, and the ability when saving an FX preset to include the FX return EQ.

www.mackie.com

manufacturer’s Dual Recording mode is also included, which records a lower level safety track in a bid to safeguard against spikes in source level.

www.tascam.com

Mackie’s Master Fader app has been upgraded

Apogee’s Element 46 audio interface

TASCAM’s DR10L beltpack recorder

A CEDAR Cambridge Series IV system

TT45-CXA

ACTIVE HIGH-OUTPUT STAGE MONITOR

The TT45-CXA is a full-range, high-performance symmetrical monitor. The linear curve response, the consistent coverage and acoustic output make the TT45-CXA the professional choice for medium and large stages. The voicing is accurate and deep, the sound transparent in the mids and extremely accurate at very high frequencies. The size is compact and the profile low, for a discrete appearance. By producing a response with flat amplitude and phase, fullrange bandwidth and exceptional impulse response, the TT45-CXA far exceeds the capabilities of conventional nitors

• 2200 Watt, three-way class D amplifier

• 50° x 90° constant directivity coverage

• 2 x 10’’ neodymium woofers, 3.0’’ voice coil

• Horn loaded 1.4’’ neo compression driver, 4.0’’ v.c.

• Symmetrical design

• Multifunctional cabinet

• DSP processing

• Onboard RDNet control

RedNet Control goes large with version 2.0

IN RESPONSE to a growing and global trend of RedNet users employing ever-larger RedNet systems, Focusrite has upgraded its RedNet Control software system with the release of version 2.0. The software enables remote control of the manufacturer’s RedNet range of Dante-based audio-over-IP systems and the update has been made to give users more intuitive control.

RedNet Control 2.0 provides users with a tabbed graphical interface, much like you would encounter on a web browser. Each tab on the interface can display up to 12 devices, depending on the level of detail required, and 50 tabs can be

available can be dragged from a sidebar list into a grid on a tab. With the capacity to control up to 600 RedNet devices, the equivalent of 9,600 Dante audio channels, the new update has been designed to handle the largest of systems. The system can also be set to populate

Rupert Neve returns to the classics

MARKING RUPERT

tabs automatically with devices from the list, while tab contents can be managed via a drop-down menu. Users can identify and rename a device on the sidebar list by right clicking on it. There is the option the devices that meet the selected criteria; for example, by sample rate

new transformer-gain, Class-A mic preamp in over 40 years, the Shelford

directly-coupled transformer input with gain provided by the custom transformer itself. The RN4012 transformer provides

controlled by a stepped attenuator and precision trim pot. The mic pre section also includes a sweepable

transformer-gain, Class-A mic preamp in over 40 years

line selection, 48V phantom power, and polarity reverse.

The new preamp design is complemented by the 1073and 1064-inspired inductor EQ section from the manufacturer’s existing Shelford 5051 and 5052 modules, a new diode bridge compressor inspired by the 2254

with additional functionality, a new dual-tap transformer output with high- and low-headroom outputs, saturation, and reportedly twice the operating voltage of Rupert Neve’s vintage modules.

www.rupertneve.com

iRig HD goes pro for sequel

or devices that are not currently in a tab. Search functionality is also included for the device list. Devices are now shown graphically on the new user interface.

RedNet devices may also be grouped on each page, enabling simpler management of signals. One example given is that tabs can be arranged to represent a particular area or room of a facility. The version 2.0 update also improves the software’s device monitoring, metering and parameter controls, while also allowing for the locking and unlocking of devices.

www.focusrite.com

Powersoft sets

POWERSOFT HAS provided sponsorship and support for

The app is available on Android, devices, and is designed to provide calculations, utilities and reference information for the design of pro audio setups such as PA systems and sound reinforcement applications, as well as lighting. The Italian manufacturer’s contribution to the app comes in the form of a dedicated session that focuses upon its limiter thresholds. It has been developed to assist users in setting a starting point for limiter setups by running tests, validating and tuning the results. Finally, to allow users to set a maximum voltage, an optional Clip Limiter is also available with the tool.

www.brusi.com www.powersoft-audio.com

IK MULTIMEDIA’S iRig HD 2 builds upon its predecessor by reportedly offering professional-quality 96kHz digital audio with

A portable, digital guitar interface for use with iOS devices, Mac or PC, the second generation iRig HD offers an integrated headphone

with dual mode switch and the full version of the manufacturer’s AmpliTube real-time guitar and bass multi-effects processor software. The mobile interface features an input gain control for signal levels that can be monitored via a multicolour LED indicator. The headphone output, meanwhile, includes preamp and level control, and a lighting cable connector has been added to deliver iPhone 7 compatibility. This allows users of Apple’s latest phone, which

iRig HD 2 is compatible with iPhones, iPads, Macs and PCs

doesn’t include a headphone jack, to monitor their recording using their existing headphones, and can also be used to simply allow the listening of music from the phone via headphones. The Amp Out jack facilitates the use of an iPhone, iPad, Mac or PC

without requiring an adapter. The

users to select the type of signal sent.

The device comes packaged with a mic stand mounting bracket.

www.ikmultimedia.com

An old-school and cool compressor

Attack and Release knobs, which respectively adjust the response times (clockwise for faster response times) when the compressor exceeds the threshold and falls below it.

Klark Teknik is aiming for a vintage, yet modern design features with its new compressor

PAYING TRIBUTE to the 1176LN, Klark Teknik has constructed the 1176-KT as a FET-style (Field Effect Transistor) compressor, but with a modern, discrete signal path that calls upon the custom input and output transformers of the Music Group-owned company’s sister brand, Midas, to reportedly deliver a high-quality sonic performance.

app

With a UI designed for simple operation, the compressor features four compression ratios: 4:1 moderate, 8:1 severe, 12:1 mild limiting and 20:1 hard limiting. To effectively cater for drums, bass and guitars as well as rock ‘n’ roll vocals Klark Teknik has included the All-button mode. On the front

In keeping with the vintage look and feel that the manufacturer is aiming for, the 1176-KT possesses an illuminated VU meter that displays the gain reduction and output level of whichever meter button has been selected. The enclosure is a 2U steel rack mount unit with Neutrik XLR connectors and a universal power supply that includes auto-voltage sensing capabilties.

www.klarkteknik.com

Shelford Channel features Rupert Neve’s first

Version 2 of RedNet control is now available

Powersoft has contributed to the development of the PAcalculate

THEY HEARD, “BAD NEWS, THE BUSINESS IS IN TROUBLE.”

But you said, “Big news, our business has doubled!” With Devio, the message is always clear thanks to an 8-element, voice-tracking microphone for crystal clear sound in any conference or huddle space. Quickly transition ideas from your laptop to a collaborative work session, adding displays, speakers, a web camera, and microphones with a single USB connection. Communicate better with Deviothe conferencing tool that works the way you work.

biamp.com/devio

500 series compressor

CONTINUING IN its quest to provide 500 series standard version rack series units, elysia

Smaller, but still Smart

has launched the mpressor 500. In addition to retaining features from the larger mpressor, such as the manufacturer’s gain reduction limiter that is designed to provide unique dynamics shaping options, the mpressor 500 includes new functionality in its switchable THD Boost, which allows for signal saturation effects.

Also included in the product topology, negative ratios, stepped controllers and an anti log release. Auto fast switchable semi automation is featured as well.

The manufacturer states that make it suited to both recording

www.elysia.com

mpressor 500 is a 500 series standards version of elysia’s mpressor compressor

THE SMARTBOOM Lite series of headsets reportedly retains the ‘features, comfort and reliability’ of its larger sibling, Pliant Technologies’ SmartBoom Pro headset series, while providing them within a smaller form factor. Comprising 4-pin XLR female, 5-pin XLR male and unterminated versions, the Lite series is designed to deliver enhanced acoustic isolation while incorporating a single-ear design with a closed back that makes it a lightweight option.

dynamic cardioid microphone with noise-cancelling capabilities. As with the Pro models and as the

name suggests, the Lite versions make use of the manufacturer’s SmartBoom technology that enables the microphone boom to serve as a quick muting on/off switch. Each of rubberised matte black and include an adjustable headband to offer a pad and 150cm cable are supplied. The CoachComm division has also introduced CrewCom: a wireless intercom solution designed to enable high user density, large range and scalability. The manufacturer also states that the system includes the ‘smallest fullyfeatured professional

voice quality and multiple simultaneous frequency’.

The system is built on a ‘highly scalable’ platform and comprises a family of devices to facilitate any size and type of application. The products that form the solution are available in 2.4GHz and 900MHz versions –the 900MHz versions are limited

to use in areas that the band is legal. These frequency ranges can be used in any combination simultaneously.

To provide the system with a network on which to operate, Pliant has developed CrewNet, which coordinates all of CrewCom’s system timing, audio, signalling and controls and provides a means of transport. It can operate on a standard Cat-5e cable or higher, and across single mode lines of produced CrewWare as a software package for CrewCom, delivering and real-time monitoring for each device within the setup.

www.plianttechnologies.com

NX AMPLIFIERS ADAPT.

Power Requirements

Choose from 36, two-and four-channel models from 75, 150, 400, 800, 1500,

All with common feature sets and come with a 5-Year

to drive Low Impedance (2, 4, 8 Ohms), or Constant Voltage (100, 70, 25 Volt) available exclusively on 1U

Design

or together with Ashly Protea™

Energy Management System by and

Ashly Remote, a free iPad® remotes, and/or hardwired Ashly remotes including analog, as well as serial and Ethernet

and 900MHz versions

The SmartBoom Lite Series

FOLLOWING THE release of Clear-Com’s Agent-IC app in iOS, the manufacturer has made the mobile application, that allows for the secure connection and communication with the Eclipse HX digital matrix intercoms system remotely via smart phone or tablet, available on Android devices.

Described as a mobile intercom client panel, Agent-IC connects a smart device to Eclipse HX over an IP network. It is designed with an intuitive user interface to simplify the process of deploying across remote teams. The app also enables point-to-point calling and group calling, partylines, PTT, local cross-point audio level control and

while also providing security in the form of audio encryption and user ID/password accessibility.

Agent-IC is based on the G.722 codec and is available for Android OS 5.0 and higher via Google Play, and on Apple devices on iOS 8.0 and above through the App Store.

Clear-Com has also been hard at work on the hardware side, producing a new addition to the

Agent-IC is now available on Android devices as well as iOS

HelixNet beltpack range. The HXII-BP-X4 has been designed for use with the HelixNet digital partyline intercom systems. It offers a ‘lighter-weight, tougher and more ergonomic design’ than its predecessors, and utilises PoE (Power-over-Ethernet), accessing two of the system’s 24 channels at a time.

‘The HelixNet platform is an all-digital system based on networked technology, which

with the right material

■ Flexible, tough multipair-cables for permanent use

■ User-friendly cable solutions

■ Customer oriented manufacturing

■ Robust stagebox-systems

■ Big stock and fast delivery

means all the end points in the system can connect and draw power from the PoE switch,’ explained Clear-Com product manager, John Wyckoff. ‘This allows easy remote connection of beltpacks through PoE switches and users to add more beltpacks to systems already maxed out with 20 Digital Power Line beltpacks.’

www.clearcom.com

THE PERSONAL Digital Recorder (PDR) has been developed by Lectrosonics as a micro digital recorder for situations when a wireless microphone cannot be practically used. Designed to synchronise with an SMPTE 12M – 1999 timecode, the portable recorder records in 24-bit, 48kHz digital onto a Micro SD card (HC type) in the .wav (Broadcast Wave File) format. The PDR can be jammed to an external time code via a 5-pin Lemo connector, whilst a headphone output jack allows monitoring of the signal input or playback of previously recorded any mic or line level signal, providing bias voltage to power a wide variety of electret lavaliere microphones.

The input connection and wiring is compatible with microphones pre-wired for use with Lectrosonics’ wireless microphone transmitters with servo bias type inputs. The PDR runs for over six hours on a single lithium AAA battery, for which setup and adjustments can be made on the keypad interface or the LCD. Measuring 60mm x 54mm x 17mm and weighing 71g (with

battery), the PDR’s ergonomic shape has been machined from a solid aluminium billet before being hard anodised. The resultant form factor claims to make the PDR easy to place in garments

and costumes or to conceal as a plant microphone for capturing environmental or location sound.

Adding to its DSW (Digital Secure Wireless) microphone system, Lectrosonics has manufactured the DBa digital belt pack transmitter for use in a variety of demanding applications. It boasts 24-bit/48kHz digital audio, a lightweight yet tough build for durability, and AES-256-CTR encryption technology to ensure privacy.

With a wideband tuning range between 470 and 698MHz, the DBa also possesses an RF output stage that’s highly linear to decrease inter-modular distortion and 50mW transmission RF power that aims to negate dropouts.

It also features a TA5M mic/line input.

The transmitter has an audio frequency response of approximately 20Hz to 20kHz, 2.5ms system latency and a dynamic range of 108dB. A pair of AA batteries power the device, with alkaline batteries providing more ones over nine’.

www.lectrosonics.com

The DBa digital belt pack transmitter is part of the DSW microphone system

Exclusive speakON connector made by NEUTRIK

VOCOPRO HAS introduced its new range of wireless microphone systems, the Hybrid Line, which is aimed at performers and speakers that require a reliable system of good quality that is also simple to

Hybrid-Play (headset/lapel) and Hybrid-Acapella (handheld) series, which each feature eight-, 12- and

The systems operate within the 900MHz band so as to remain immune from interference, particularly in broadcasting

up to approximately 60m for 24-bit digital audio – this is reportedly accomplished by utilising the manufacturer’s digital ‘mic-onchip’ technology, as well as an

frequency response is between

WITH DIRECTIONAL sound gaining an increased focus in the world of pro audio, several manufacturers have now introduced dedicated

Townsend Labs, whose debut product has now been unveiled

Described as a high-precision, side-address, large-diaphragm condenser microphone, the Sphere L22 combines with a DSP plugin which much like a guitar emulator, replicates eight large diaphragm classic condenser microphone

‘Traditional modelling techniques like those used in classic hardware emulation don’t fully address the characteristics that truly make microphones unique and desirable,’

‘To capture those key spatial details, we pioneered methods to study microphones in three

The 3D approach to modelling offers users some distinct advantages, such as the ability to change mic types, polar patterns and other characterisers postrecording, make stereo recordings from a single mic and reduce bleed and undesirable room colouration

Thanks to the dual-channel design, users can also reportedly perform phase-coherent mixing of multiple virtual mic models from the same physical microphone, before or after tracking in the Sphere plugin, while it’s also

50Hz and 20,000Hz and each digital microphone in a system has its own ID, removing channel

A balanced XLR output is

included for each channel on the Hybrid Line products, reportedly providing ‘precise volume control or the ability to patch in all the microphones quickly with up to four

company is terming an industry contained multichannel wireless systems that ship with custommade bags for portable use, which is essentially the same technology as outlined previously but packed

The UDH Play and Choir are four or eight-channel wireless systems headset/lapel microphones and operate on the 900MHz frequency band and 24-bit audio can be utilises All-in-one wireless Mic-On-IC technology integrating an onboard

THE TELOS Alliance has unveiled a new solution to aid small radio studios with the transition from traditional ISDN and POTS lines to IP-based phone systems, claiming that by banishing the monthly costs attributed with traditional lines it can provide broadcasters with

put, you’re paying for the capability you need, while getting unparalleled quality for on-air calls,’ offered Joe Talbot, telephony product manager for

and Hybrid-Acapella systems all come bundled with brackets for

In other news, in what the

The hybrid systems combines UHF analogue transmission with digital www.vocopro.com

possible to adjust the relative phase alignment of the two mics

The hardware itself has a stated self-noise level of 7dB-A SPL and can handle ‘in excess’ of 140dB

Sphere DSP plugin is available

Apollo Interfaces and UAD-2 hardware, and when used with Apollo devices offers a low round

caller speech quality and AGC ensures consistent caller levels, while Omnia Dynamic Digital EQ (DDEQ) adjusts EQ

For existing Livewire users, installation is stated to be as simple as connecting a single engine and adding networked studios can reportedly use a Telos Multipurpose Node for audio and GPIO connectivity provides phone hybrids for each studio, without the need for additional wiring or physical

reportedly no restriction to the number of SIP lines or phone numbers that can come into the

number of hybrids/faders in the

The solution is compatible with a variety of call-management software applications from third parties, and comes with XScreen call-screening software from

In other news, a new software update for the Telos Alliance’s offers the device improved clipper performance, tools for improved reception and multipath management, and UECP support

According to the manufacturer, the new and improved clipper of loudness compared with the previous version, and with induced intermodulation distortion’,

thereby preventing low-frequency content from causing audible

Beyond these characteristics, the new clipper can also reportedly be used to shape the texture of the audio to help create a station’s Elsewhere, improvements to managing and reducing multipath distortion include an additional SSB (single sideband) mode that is stated to maintain near full stereo reception, even on receivers that quickly switch to mono during

the manufacturer has introduced ‘Stokkemask’ clipping in line with the the ITU-R SM-1268 standard, which dynamically controls RF

Lastly, Omnia has added support for the standardised UECP protocol to the RDS generator, which provides the ability to transmit

Townsend Labs’ debut mic, the Sphere L22

The Hybrid-Acapella 16-channel set

Telos’ VX Prime

ICONYX Gen5 steerable loudspeakers deliver clarity to every seat.

It didn’t matter how far back their seats were. Or how cavernous the hall was. All they heard – all they felt – was sound that was warm, intelligible and personal. With clear, precisely-controlled sound from Iconyx Gen5 steerable loudspeakers, their seats were the best in the house. To learn more or for a demo, visit www.renkus-heinz.com.

renkus-heinz.com/iconyx-gen5

©2016 Renkus-Heinz

Steerable sound isn’t just about being heard, it’s about being understood.

RF analysis in tablet-form

KALTMAN CREATIONS

claim to the title of manufacturer of addition to its Invisible Waves line, audio engineer and includes a of the manufacturer’s Touch to users to listen to RF signals with the press of a button. Local

customisable markers available for monitoring the performance of transmitters and tracking the range. RF-Vue can be purchased in

RF analysis on a tablet

a standalone option to be paired with a compatible tablet. The user interface is designed to be intuitive

Revolabs transforms devices into conference systems

THE YVC-300 portable USB and Bluetooth conference phone is the result of Revolabs’ efforts to cater towards the needs of small collaboration spaces and huddle rooms. It is designed to deliver intelligible sound in ad hoc meeting areas, for groups of four to six people, providing a portable solution that makes use of an organisation’s existing devices.

Users can connect the conference phone to a PC-

based conferencing client via USB, or to a smartphone or tablet via Bluetooth. When connected to a smartphone or tablet, the YVC-300 serves as the microphone and speaker,

conferencing capabilities to a user’s phone. Fast-pairing is also with NFC-enable devices. can also be connected to the

Assistant tool.

www.kaltmancreations.com

V__matrix IP at the core of broadcast

AT THE

to showcase the V__matrix before its target audience: the

and processing platform and is designed to provide a future-proof core infrastructure based on open rack space, consuming less power and supporting the transition to

and output ports. All calls that are made across interfaces are merged into one single call. has also included its processing technologies within the YVC-300m such as adaptive echo cancellation, background noise reduction and www.revolabs.com

MXF enhancement in nablet-form

iMix 5.1 is designed to lack artificial ambiance

5.1 monitoring

without

ORBAN’S IMIX in headphones’, claims the products to be launched under the Orban brand since its

transfer function) calibration or surround encoding is also not needed, as the device is designed to render a discrete and stable includes rendered test tone locations with the likes of BLITS tones (Black and Lanes’ Ident Tones for Surround) providing

ambience.

as well as the most recent version measurement algorithm. headphones, the headphone

connectors and a built-in webserver, while users have the option to add balanced analogue

www.orban.com

TO ENHANCE AudioTools Server’s format, Minnetonka Audio module. This provides users of the enterprise audio processing platform with the more tracks, to decrease the container to include less tracks than the original or to alter the existing track depth include up and down mixing, additional language tracks, track and decoding. The nablet module can be utilised onsite, in the cloud or within a virtual environment. It comes as part of the AudioTools Channel Manager module. ‘Some processes result in the

from Minnetonka Audio. ‘Our core expertise is audio, so we decided understands video container formats as their core business.’

www.minnetonkaaudio.com

www.nablet.com

production, including studios and OB vans, and even across multiple locations, as signal modules.

V__matrix decentralises routing and processing

manufacturer as a ‘virtualised real-time broadcast production infrastructure’, it utilises several cores that are connected to a COTS (commercial of-the-shelf) redundant connections, forming a distributed IP routing and offers clean switching with frame virtual modules are loaded via core processing blades that function, allowing the user to The core processing blades come make use of the manufacturer’s VSM Broadcast Control and Signal switching and routing is facilitated for both IP and routing over IP, control and www.lawo.com

Revolabs’ YVC-300 portable conference phone

AudioTools Server has been integrated with nablet’s MXF container

SERIES

NEVER BEFORE HAS THE AMPLIFIER REACHED SUCH A HIGH LEVEL OF INTEGRATION

Processing, routing, measurement, control and power distribution are now included into a single platform. X Series by Powersoft: amplification evolved.

Linear watermarking

IN EARLY 2016 Linear Acoustic announced a partnership with Verance to bring the latter’s

VP1 Open Automatic Content Recognition (ACR) technology to the former’s Aero platform. Following that announcement, the Telos that Verance Open Watermarking – reportedly the inaugural ‘open

initially be available exclusively via the Aero.2000 and Aero.100 television audio processors.

The Open Watermarking functionality provides broadcasters with a full broadband-enabled suite of features, including interactive content and addressable advertising. Verance’s ACR watermarking system was one of many proposed to the ATSC for

AoIP gets Sonifex talking

SONIFEX HAS embraced AoIP since it joined the Ravenna group in 2012. As a result, this is the main transport mechanism for a pair of releases, AVN-GMCS PTPv2 grandmaster clock with GPS receiver and the AVN-TB range of talkback intercoms.

The AVN-TB products are IP audio based talkback intercom units. With both 4-wire analogue inputs and outputs, as well as AoIP network audio connectivity, the AVN-TB units can reportedly be used with existing legacy 4-wire systems and with

new AES67 AoIP networked audio infrastructure. Additionally, all audio is at 48kHz sample rate and its dual 1Gb LAN ports and a 1Gb SFP be used in larger networks.

be released is the AVN-TB10AR, a 10 button intercom. Comms can be made as a Talk action, a Listen action or a duplex Talk/ Listen action to/from each station.

Coloured LEDs in the buttons help to show which action is being used and there is also a Callback button

evaluation and was selected by the committee for standardisation within Users of Linear Acoustic’s Aero.2000 and Aero.100 real-time loudness processors can gain access to Verance Open Watermarking via a software upgrade.

www.linearacoustic.com www.verance.com

WISYCOM IS bringing lithium battery charging to the 19-inch rack with its ACM50 battery charger. The 1.6kg unit is housed in aluminium and can reportedly charge up to 10 batteries simultaneously.

The unit features two LED indicators under each charging

slot, allowing users to view the status of their batteries and is powered via an AC or DC connector. The manufacturer states that it takes the ACM50 two hours to fully charge a battery.

www.wisycom.com

for when you’re unavailable to receive a call. The stations can be from anywhere on the AoIP network and Bonjour Device Discovery means that other stations can be found quickly and easily. The unit also features acoustic echo cancellation and built-in mic AGC (automatic gain control). Each unit has a built-in webserver which is where the majority of made and a front panel OLED

display. The intercom has a front panel power button and dual power connectors – an IEC mains input and a 12V DC input. Also, a secondary power source reduces the effect of power down events.

The AVN-GMCS is a PTP GPS receiver and grandmaster clock used for synchronising AoIP audio networks. It has been designed to become the master clock and distribute time packets to synchronise all the nodes within a network. This reportedly enables sub microsecond synchronisation between all nodes.

This release of the hardware offers a front screen that now

displays the number of GPS satellite signals received with a screen saver which shows the current time. Equally, more (including the default Ravenna, media AES67 and AES-R16 SMPTE 2059-2 and AES67 interoperable

has been added to the unit so that accurate time/day will be available. Finally, the PPS and wordclock outputs are interchangeable so either output can be used and the web interface is now responsive.

www.sonifex.xo.uk

The AVN-TB10AR frontpanel

1/3 PAGE

Sonifex’s AVN-GMCS IEEE1588 PTP Grandmaster Clock

AudioLan2.0 blends

AES67 and AES70 into single solution

ARCHWAVE HAS

HIGH

NOT SPEAKERS WITH SOUND FILL THE SPACE

The highest possible output from the smallest possible cabinet. It makes NEXO speakers less obtrusive and easier to transport, rig and install.

Measuring less than 38cm wide, GEO M6 delivers NEXO’s signature smooth frequency response for a highly musical performance and enhanced speech intelligibility, with focussed dispersion for consistent coverage.

Whether you’re rigging a mobile A/V application or installing a fixed system in a theatre, bar or club, NEXO helps you fill the space with sound, not loudspeakers.

Digigram is feeling blu

DIGIGRAM’S NEW suite of cloudbased services is designed to streamline end-to-end management of the process of content contribution from an internet-based source to the studio. Named blu by digigram, the manufacturer states that the subscription-based suite is a ‘cost-effective, centralised web for users ‘to establish a high-quality bidirectional communication with any remote contributor with internet access’.

focused service unites a cloudbased SaaS application with a professional audio interface (blu

Connect studio) to improve the user experience,’ explained Digigram product owner, Martin Dutasta. ‘With this pay-as-you-go model for managing and processing contributed content from an array of sources, broadcasters can dedicate more time to creating programming.’

The SaaS software and blu Connect studio interface create a protocol-agnostic contribution platform. Together, they enable instant and secure IP audio contribution via the cloud or by other real-time means, such as by phone or IP codec, and the option for cloud-based audio processing

Listening over Dante with the 362

an etherCon RJ-45

both the power and bidirectional digital audio signal by interconnecting with a standard PoE-enabled

and media recording.

Studio staff connect to blu by Digigram using a web platform and using the contacts interface, can launch a full duplex contribution the blu Connect interface. The receive an email or SMS message connection with a PC or Android

smartphone. The web platform supplies audio controls to the users on both ends, as well as tools for an editorial team to add contextual metadata to a recording and to manage the members of their contribution community.

The blu Connect interface includes AES/EBU, AES67 and analogue I/ Os, with a plug-and-play system that connects automatically with

the blu by Digigram service via an encrypted connection and generates also provides scalability options, with the manufacturer citing that ‘users can extend the system’s capabilities by adding concurrent

a traditional AoIP codec, or adding new functionality to accommodate future services’ as an example. The system has also been designed to integrate with a broadcaster’s existing infrastructure, including apps, websites and other contribution portals.

blu.digigram.com

Multichannel ASIO support comes to Dante Via

STUDIO TECHNOLOGIES has manufactured the Model 362 on-air talent and production staff.

Model 362 features Dante AoIP technologies and facilitates headphone monitoring for two audio channels from a Dante application.

The listen-only device channel routing abilities, dual level controls, ¼-inch and by Power-over-Ethernet (PoE). Setup and operation is reportedly

Model 362 is compatible with Audinate’s Dante Controller PC software that can distribute a pair of audio sources to the

able to set and maintain a level on the headphone output via two push-in/push-out rotary potentiometers. The unit’s operational status is indicated by four LEDs. The manufacturer has ensured that Model 362 is also compatible with its other Dante-enabled products, as well as those from third party companies.

www.studio-tech.com

WITH VERSION 1.1, Audinate has introduced or expanded on several notable features in its Dante Via software, such as increasing application support to 16x16 channels and adding ASIO device support, adjustable source mixes and device protections. Described by the Australian company as a major update to the audio

the latest version is available free-of-charge to existing owners from Audinate’s website.

Increasing the channel count, Dante Via 1.1 supports up to 16x16 channels of audio for each application and up to 32x32 for each connected device. Users

connections between multiple applications and devices within a single computer, or between multiple computers using Dante

A brand new feature in version

Dante Via screen shot

unwanted changes to the software being made from other computers

a new Mixer panel enables level adjustments of multiple sources that are combined at stereo destinations, while the

ALC NetworX unites Ravenna and AES67

WITH AES67 continuing to gain

NetworX has released a Ravenna to SAP freeware conversion tool intended to help connect Ravenna devices to other AES67 units. The manufacturer stressed that such a tool is required because ‘crucial to the success management between devices and the exchange of SDP data’, something that the AES67 standard doesn’t mandate.

In Ravenna, ‘the SDP data is conveyed via the RTSP protocol which is a common method in layer 3 IP applications’.

‘While some Ravenna devices have implemented SAP in addition to Ravenna’s standard SDP data exchange method, we felt that interconnectivity would be greatly facilitated if a generic Ravennato-SAP converter providing a translation service between Ravenna and SAP announcements were available,’ explained ALC

new Append Channels feature automatically assigns sources to available channels when connecting to multichannel destinations, allowing logical routing to DAWs and mixers.

www.audinate.com

NetworX’s Andreas Hildebrand.

‘Furthermore, since the RAV2SAP converter supports manual entry and read-out of SDP data as well as automatic translation, it also enables devices not adhering to the Ravenna or Dante technology realm to connect to any available AES67 stream via manual SDP data exchange, as well as acting as a great diagnostic tool for monitoring exchanged SDP data.’

ravenna.alcnetworx.com

Model 362 is a listen-only beltpack

ALC NetworX’s RAV2SAP converter

RECORDING

10 X 8 MATRIX

96kHz AS STANDARD

2 X PLUG-IN CARD SLOTS FOR INTERFACING WITH INDUSTRY FORMATS

INTUITIVE TOUCH USER INTERFACE

No holes barred

JOINING THE Prism 4x4 and Prism 8x8, which feature four and eight inputs and outputs respectively, Symetrix’ newest Prism Series device, the Prism 0x0, serves as the DSP core of a Dante network and permits expansion via 64 channels of bidirectional Dante networking, in addition to delivering processing, mixing and routing for Danteenabled endpoints.

‘The Prism 0x0 has many applications,’ said senior product manager, Trent Wagner. ‘For example, a lot of digital consoles have Dante but don’t offer feedback elimination, auto-mixing, and

Simply insert the Prism 0x0 between the remote stage-input boxes and the console, if Dante-enabled, or use the Prism 0x0 as an

Blackmagic in 4K

BLACKMAGIC DESIGN’S

DeckLink range has gone 4K with the introduction of the DeckLink Mini Monitor 4K and DeckLink

Mini Recorder 4K PCIe capture cards. These new models include the same features as their HD cousins, but with the addition of Ultra HD (UHD) and high dynamic range (HDR) capabilities. With OEMs and developers in mind, the Australian manufacturer has made both DeckLink Mini 4K units fully compatible with Desktop Video SDK

for building custom playback and recording solutions.

In addition to UHD and HDR, both the monitor and recorder versions support all formats up to 2160p30, including, SD and

four lane generation dual PCI Express cards that possess 6G-SDI and HDMI

2.0a connections capable of supporting 10-bit YUV and 12-bit RGB video, as well as Rec 2020 colour and support for HDR formats

insert or bus processor. For outputs, relay the signals through the Prism 0x0, if the amps are Dante-enabled, or insert it on the console’s busses.’

According to the manufacturer, devices in the Prism series feature the same digital signal processing power, mic preamps and AD/DA converters as Symetrix’ Radius and Edge products to provide 64 channels of bi-directional Dante networking. DSP, analogue audio and converter technologies are reported to be identical in all four products.

www.symetrix.co

and metadata. A full height and a half height PCI shield are both included with the two DeckLink Mini 4K cards to enable installation within a standard computer PCIe slot

DeckLink Mini Monitor 4K provides SDI and HDMI playback and monitoring and its outputs switch between all video formats automatically. DeckLink Mini Recorder 4K, meanwhile, captures video directly from SDI and HDMI sources, such as decks

and cameras, feeding it to a computer. It has been designed for versatility, reportedly allowing for integration into mobile live capture environments. Both models are compatible with uncompressed format video, including QuickTime, making them compatible with most major professional editing, colour correction and visual effects software suites.

www.blackmagicdesign.com

The Prism 0x0 with PC and iPad interfaces

Short-range and cable-free HDMI distribution

KRAMER ELECTRONICS is targeting presentation environments with its KW-14 HDMI transmitter and receiver pair that provides short-range, wireless A/V distribution, noting that listed and

cabling. The system comprises the KW14T transmitter and KW-14R receiver. One transmitter can distribute HDMI

signals simultaneously. The transmission range is up to 30m and can penetrate obstacles, including walls. With a 1080p resolution at 60Hz, the on-screen display

KW-14 is designed for short-distance wireless HDMI distribution

screens and will automatically select the most suitable RF available to avoid

www.kramerelectronics.co.uk

Green is the new black

are signal processing devices that are internal processing channels and I/O connections. Following this, apps can be downloaded to provide the required

greenMachine is true to its name

LYNX TECHNIK AG’s greenMachine combines hardware, downloadable apps

regularly add new apps to the aptly named greenStore.

In keeping with the greenTheme, the greenMachine has been designed

are available that include the hardware and apps: the 3G/HD/SD dual channel SDI Frame Synchroniser and added Up/Down/Cross Conversion versions, as well as the HD (1.5Gbit/s) SDI dual bidirectional transport package. Upon purchase, the user selects the

via the greenGUI. The greenUniverse, greenMachine’s installed apps and hardware.

www.green-machine.com

www.lynx-technik.com

Skyping with the Spider family

PHOENIX AUDIO Technologies has currently comprises three devices

MT505 SIP/IP Telephone, MT502 PSTN the application.

The MT502 PSTN and the MT505 dial pads and displays. This Power Hub.

The PSTN Spider MT502 is now compatible with Skype for Business

Skype calls, in addition to using it as your daily speakerphone and

a separate keyboard, mouse, or dedicated controller necessary to dial

COO, Jacob Marash.

www.phnxaudio.com

One-man live production

adjustable brightness LED video light to minimise the need for external lighting equipment’, ‘advanced noise reduction and remarkable detail reproduction’ and technology that makes use of DSP. The camera’s provide a wide viewing angle.

AMX brings 4K to standard LAN networks

SONY’S LATEST MCX-500 multicamera live producer has been created for single users that operate multi-camera setups. Designed with small-scale applications in mind, the all-in-one switcher is said to offer ‘the performance and technical heritage associated with Sony’s market leading A/V solutions, but at an affordable price’, making it particularly suited to applications such as houses of worship.

The MCX-500 includes features taken from the manufacturer’s MVS series, such as its broadcastquality chroma key algorithm, and has also been designed to offer an easy-to-use interface, suitable for a voluntary A/V team. The switcher includes four channels and the option for nine inputs such as four 3G-SDI, two HDMI, a pair of CVBS and an RGB input for title overlays. Compatible with a ‘wide range of video cameras’, the device features PiP and Keyer overlay functions, channel audio inputs in addition to the four channel video inputs, including XLR and embedded audio from SDI or HDMI.

It is reportedly able to adapt to live images with AVCHD formats

without an external recorder, meaning that users can edit or distribute a video as soon as recording ends. A GUI option is provided to allow remote control from an external device, while Ustream integration has also been included for those looking to stream events online.

The HXR-NX5R, meanwhile, is the newest addition to the NXCAM camcorder family. It offers multiformat recording capabilities and improved network functionality, such as FTP and live streaming, built-in Wi-Fi and simultaneous backup recording via its dual SD card slots.

Sony states that the three 1/2.8type Full HD Exmor CMOS sensors and 40x Clear Image Zoom double the camera’s optical zoom without loss of image quality.

Additional upgrades that the HXR-NX5R brings include a 3G-SDI terminal, enhanced control options by way of a direct menu function and a responsive joystick and the choice of advanced XAVC S 50Mbps or established AVCHD/DV recording

as well as what the manufacturer

The successor to the RM-1000BP, Sony has released the RM-30BP compact multi function remote commander. Initially compatible with the PXW-FS7 v4.0 as well as the HXR-NX5R and MCX-500, the manufacturer has plans to expand the portfolio of devices that the remote commander will work with. It can be used as a handheld device, placed on a table-top or attached to the arm of a tripod and provides remote control such as recording/display functions, shutter speed, white balance, lens control and playback and multi-camera control for up to three units.

Finally, Sony has increased its portfolio of Trimaster El OLED master monitors with 17-inch BVM-E171 and 25-inch BVM-E251 replacing the BVM-E170A and BVME250A monitors and providing 4K production features.

pro.sony.com

Epson targets high brightness market

DESCRIBED BY the manufacturer

lumens laser projector, Epson’s EB-L25000U is its highest lumens projector. Aimed at expanding Epson’s presence in the high brightness market, the projector has been designed for large venues and outdoor projection.

The EB-L25000U integrates a fully sealed laser optical engine with laser-light source and inorganic components.

Offering a contrast ratio of 2,500,000:1, users are reportedly

Epson’s EB-L25000U projector

able to operate the projector continuously for 20,000 hours before the brightness starts to decrease. The 25,000 lumens unit comes with a wide array of motorised 4K compatible lenses and is able to rotate and tilt

360-degrees in all directions. The EB-L25000U also offers edge blending, a built-in camera for colour calibration and lens position memory function.

www.epson.com

HARMAN’S AMX brand has brought low-bandwidth 4K video transmission to its latest networked A/V solution – N2300 Series. With a bandwidth of less than 200Mb/s, the manufacturer is promising 4K distribution over existing Gigabit Ethernet Networks with a reported latency of only one frame, thereby making the solution attractive for a variety of common applications.

The N2300 Series supports both the latest HDMI 2.0 and HDCP 2.2 standards for compatibility with the latest 4K displays. Thanks to systems can range in size from a single encoder and decoder or grown to make a larger system simply by adding units. The N2300 encoders and decoders are PoE-powered, negating the need for an external power supply and simplifying installation. Quiet operation is also assured as the

units do not contain an internal fan for cooling.

Like other AMX networked A/V products, the N2300 Series has Native NetLinx capabilities for quick integration with Harman solutions, while additional features include keyboard/mouse support, RJ-45 and SFP network connections, support for balanced and unbalanced analogue audio, and RS-232 and IR ports for device control.

The NMX-DEC-N2322 decoder is available as a standalone unit that can be mounted behind a display.

The NMX-ENC-N2312 encoder is available both in standalone and for installation near a source or in a rack, using the AMX N9206 2RU rackmount cage. The AMX N9206 holds up to six cards and an optional consolidated power supply.

www.amx.com

Room Agent has been updated to include Office 365 integration

Room Agent adds

VERSION 1.2 of Extron Electronics’ Room Agent software enables the manufacturer’s TouchLink Pro touchpanels to

365, adding a further scheduling option. The Room Agent interface software already allowed TouchLink Pro to become a Microsoft Exchange client.

Additional features that version 1.2 brings include the ability to customise room availability hours and to view an entire day’s worth of scheduled meetings. Following the update, users can also expand a meeting subject and edit phrases on an ad hoc basis.

www.extron.com

The MCX-500 multi-camera live producer

The N2300 promises 4K tranmission over standard Ethernet

The HXR-NX5R is the latest addition to Sony’s NXCAM camcorder family

Vero is a large format sound system, which has been engineered for new levels of audio and operational performance. It has been designed, developed and perfected over the last six years by some of the most knowledgeable and experienced audio engineers in the world.

Its meticulously crafted proprietary waveguides and driver technology produce naturally even frequency response and coverage.

The result is uncompromised system dynamics, headroom and coherency combining to present an incredibly spacious stereo image, which is why Vero is already gaining the plaudits of sound engineers from around the world.

www.vero-system.com

THE NEXT LEVEL OF TOUR SOUND

Acoustic Geometry traps bass in the corner

THE LATEST addition to Acoustic Geometry’s Acoustic Bass Management (ABM) product line, the CornerSorber, is designed as an ‘easy-to-use solution that would realistically reduce destructive lowfrequency room modes’.

against the wall in the corner of a room and features Mass-Loaded Vinyl (MLV) absorption membranes

to lessen low-frequency room modes and provide an environment capable of more accurate sound reproduction.

The CornerSorber has reportedly been laboratory-tested to ensure its ability in allowing maximum pressure-zone room-mode reduction. Each unit measures approximately 61cm x 107cm with a depth of 15cm and is bevelled

Gerriets doubles up for reverb adjustment

THE G-SORBER system comprises two layers of Trevira CS wide width fabric that Gerriets states will adaptability when controlling the acoustics within a room. The fabric is especially designed for the G-sorber, which is available in a variety of sizes up to 4m wide x 10m high.

The absorption unit is designed to adjust the reverberation times for any any style of décor and can be colour or digital print design. With its double layer textile design, G-sorber is a single roller unit with compact housing dimensions

The G-sorber is double layered

on two of its sides and at the top to allow a pair of CornerSorbers to be placed 7.5cm vertically or horizontally apart from and parallel with each corner of the room. When combined with the manufacturer’s Curve Diffusor, the CornerSorber reportedly delivers consistent bass absorption from 50Hz to 500Hz and can evenly diffuse frequencies in excess of

500Hz. Designed to be suitable for a range of uses and venues, this newest member of the ABM family including black-stained oak, custom stain and paint colours, maple, cherry and walnut, leather and brushed aluminium.

www.acousticgeometry.com

The CornerSorber utilises MLV absorption membranes

Low frequency acoustic absorption

PSI AUDIO describes its AVAA (Active Velocity Acoustic Absorber) as an ‘anti-wall’, as it is designed to neutralise a wall’s negative to absorb the standing waves of up to 150Hz, controlling a room’s low frequencies. Being an ‘active absorber’ means that that the taking up less space, states the manufacturer.

Each AVAA unit will reportedly produce the effect of a hole in the size.

The device is said to emit no sound and to not require any for portability and can be used in any type of room, including recording facilities.

www.psiaudio.com

be wall or ceiling mounted and is described as requiring little maintenance.

www.gerriets.com

LYNTEC’S RANGE of RPC series power control panels is to gain Telnet Protocol Support, allowing for an expansion to its interface

developed on-board monitoring and control capabilities from any

remote location. Telnet is a data transfer protocol for transmitting serial data commands over Ethernet

(PLASA E1.31) and HTTP GET

for RPC remote controlled power

panels. The RPC series also accepts RS-232 serial, DMX-512 and contact closures as control inputs, offering a self-contained platform for power control applications.

www.LynTec.com

WyreStorm links the boardroom with the classroom

WYRESTORM HAS provided a new solution for boardrooms and classrooms with WyreStorm software for wired or wireless network display sharing from Windows and Mac devices to its presentation switchers, SW-0501HDBT and NetworkHD NHDSW-0501.

ScreenLink was designed to provide a quicker approach to multiuser content sharing. The software supports simultaneous connection of up to 26 Mac or Windows computers to each SW-0501-HDBT or NHD-SW-0501 presentation computers can be displayed at the same time through a variety single, dual, PiP and quad-view. screen set-up process with a fast connection of new devices, and can be directly downloaded from

the presentation switcher, USB key or web. Security can be set to

requirements. Users connect to the local network to enter the on-screen number and start beaming their screens to a display connected to the SW-0501-HDBT or NHDSW-0501.

Both switcher models also support

uncompressed sharing, offering compact switching and auto scaling at up to 1920x1200p at 60Hz, microphone input with phantom power, stereo inputs and automix stereo audio output. Control options are featured and include

separate or combined RS-232 to manage and control the switcher or external devices. The SW-0501outputs with PoH for power transmission of up to 100m.

WyreStorm’s ScreenLink

also offers the features of an H.264 of Network HD 100/200-Series location to multiple displays and videowalls in multiple zones.

capabilities reportedly allows for the combining of presentation switcher features and ScreenLink

content sharing features within the Network HD system for scalable A/V distribution.

The company has also released a new app for iPad, Touch, which is designed to allow users to preview live video and control a Network system, for both single screens and video wall applications. The app features drag-and-drop selections

of content onto each display, allowing for accessible switching of any number of sources to any number of displays or videowalls the iPad screen.

Additionally, it is automatically

the central Network HD system controller, ensuring users have access to their source content quickly. A live video preview of all selected content is also displayed in main video placeholders on the iPad screen, as well as on live video thumbnail previews of connected sources along the bottom of the screen.

The app can also be integrated with the WyreStorm Enado control system, enabling control of the source devices themselves and reportedly taking advantage of the Enado features, such as BYOD for addition of control devices.

www.wyrestorm.com

PSI Audio’a AVAA creates the effect of a hole in the wall up to 20 times the size of the unit

Quick and easy XLR signal routing? It must be Switchcraft!

REPORTEDLY ADDRESSING

the ‘need for quick and easy XLR signal routing’, Switchcraft has started shipping the a DTRS wired, 24-channel XLR patchbay, the AP24MX3DB25F, and a pair of 16 channel XLR PT Series patchbays, the PT16FX16M and PT16MX16F.

The AP24MX3DB25F comes in the form of a 2U rackmount pass-through patch panel that the manufacturer states is ‘ideal for live room and broadcast studio installations’. It is two inches deep, allowing for 24 XLR connections to be directly routed to three groups of eight DB25, which are found on the front of the panel and wired in a

The two additions to the PT Series, meanwhile, offer front-of-rack I/O accessibility, making them suited to ‘permanent or mobile studio environments’.

The two models feature male (PT16FX16M) and female (PT16MX16F) XLR connections on the front and a pass-through

New from Filter Pro

THE SE portable acoustic treatment has received a hardware upgrade designed to simplify its use,

counterpart on the back, to facilitate a variety of patching requirements.

Switchcraft has also released a pocket-sized DirectBox that the manufacturer describes as ‘a cross between the SC700CT DI box and

318 inline audio adapter’. Designed for durability as well as portability, the 370DI AudioStix converts unbalanced stereo outputs from mobile devices, computers and other consumer equipment into a balanced mono line level for mixing

consoles and sound systems. It includes dual RCA inputs, a 3.5mm TRS input, DE Series locking male XLR for balanced, mono and microphone level output, a ground

lift switch and a 20dB pad for handling stronger signals without distorting them.

www.switchcraft.com

The mounting upgrade kit

increase stability and offer better overall performance.

The upgrade comes in the

Mounting Bracket Upgrade Kit, which is mounting hardware based on that used for the 10th

The new mounting hardware allows for panning and tilting, addition, all moving parts are chromatised in order to ensure low wear and it can reportedly be positioned at any angle.

The upgrade kit includes the updated hardware, a mic thread adapter and a screw wrench for assembly.

www.seelectronics.com

ULTRA-COMPACT MODULAR LINE SOURCE

Packing a 138 dB wallop, Kiva II breaks the SPL record for an ultra-compact 14 kg/31 lb line source. Kiva II features L-Acoustics’ patented DOSC technology enhanced with an L-Fins waveguide for ultimate precise and smooth horizontal directivity. WST® gives Kiva II long throw and even SPL, from the front row to the back, making it the perfect choice for venues and special events that require power and clarity with minimal visual obtrusion. Add to that a 16 ohm impedance for maximized amplifier density and a new sturdy IP45 rated cabinet, and you get power, efficiency and ruggedness in the most elegant package. www.l-acoustics.com

The 2-inch deep AP24MX3DB25F

Switchcraft’s 370DI AudioStix

Carbon screened cables are instrumental

TASKER HAS produced a full range of carbon screened cables for use with musical instruments.

studio recording and multi-effect processing applications. The smallest cables in the new which are both 6mm in diameter

with nominal sections of 0.2mm² (C300) and 0.5mm² (C285). Both feature carbon and spiral shielding

Outdoor cabling whatever the weather

SOMMER CABLE has constructed cable for outside installations.

from temperatures as cold as -40-degrees celcius and as high as 80-degrees celcius.

The Aqua cable is waterproof to a depth of 10m and resistant

as UV rays thanks to its outer jacket. It has a 5-wire design and is halogen-free with tight braiding

that the manufacturer states

while also recommending that it is adopted for both indoor and

Transit MC 2030 HD is the demand from its broadcast

Digital MultiTasker grows its skill set

ALTINEX HAS introduced the MT312-104 control card and MT322-105 and MT322-107 distribution cards for use with its MT302-201 Digital MultiTasker. The MT312-104 is designed for use with touchscreen control panels and while the MT322-105 and MT322107 distribute AC power from a which can be connected to any type

Offering command of serial and card boasts two relays and two sensor inputs. These relays can light and RF sensors. The sensor

The MT312-104 can also supply information from third party

By connecting to the MultiTasker the input status of the sensor connected to the RS-232 ports.

Multiple control cards can also be used within a single MT302-201 systems with unlimited capacity.

and MT322-107 power distribution measuring circuits to detect load alarm can be triggered when power male connector for the AC supply power receptacles for the three outputs. Built-in sensors alert the when the current draw approaches the AC power supply input and three

allowing for direct control of

AC301-103 can be used to passthrough IR signals from remote outputs.

states makes them particularly being suited for use in studio recording. Both cables feature a 0.5mm² nominal section and includes carbon and spiral

shielding is of the carbon and

a 0.2mm² nominal section and Tasker describes this cable as being ‘ideal for guitar multi-effects

www.tasker.it

when the current draw approaches cause the cards to automatically start turning outlets off should the

industry customers. It is a 3G broadcast cable that combines the transport of both power and digital

Measuring 18.8mm in diameter

and featuring a ‘compact and capability facilitates 3G signal

www.sommercable.com

draw. A message informing the user that outputs are being shutdown is sent to the MT302-201 Digital

Both distribution cards are able to

commands. The time delay between switching is also programmable

for the on/off detect feature is adjustable to accommodate different loads and determine when A/V equipment is on or off. This feature allows the control system to by the amount of current it draws.

www.altinex.com

Altinex’s MT322-105 and MT322-107

The Altinex Neutron MT312-104 Control Card

Tasker’s TSK1032

Designed to withstand the elements, the SC-Aqua MarineX LED Control cable

Transit MC 2030 HD is Sommer Cable’s response to broadcast industry demand

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Going large

performers. James Ling reports

HAVING BECOME THE FIRST SOUTH AFRICAN ARTIST TO sell out the 20,000 capacity Ticketpro Dome in Johannesburg, Cassper Nyovest set himself an even bigger challenge as he could deliver on this promise from a technical point of view

maintaining a very safe environment – 38 tons of technical

Gearhouse called on its experience of the space when it came

‘We have a long-standing business relationship with stage and production designers, Formative, and on events of this scale they know they can trust us to come up with the goods,’ explains original Casper Nyovest event ‘Fill up the Dome’ with them, so it successful Fill up the Dome event,’ furthers Richard Baker, MD through some ideas which we collaborated on and ultimately The look for the show was designed by Formative with gifted when it comes to concepts and designs,’ says Robert as always is making it work and that is where our experience to the budget and most importantly making it work whilst still

your audience with laser precision – as well as minimising overshooting, so to reduce that “hollow” stadium sound from

The audio was only a small part of the overall setup, with even the stadium on this show than any other show we’ve done there

sheer bombardment of visual content perfectly timed to the lighting and video tied in perfectly without one overpowering the moving elements of the show and working within those to plan the show with regard to screen and truss positions for planned it perfectly and to the second, bearing in mind that the dynamic weight loading in the roof needed to be taken into

snags, the stadium worked well and the level of commitment

Gearhouse team will be primed to see what creative challenges

www.gearhouse.co.za

The show featured more LED than LEDVision had put on any other at the stadium Picture courtesy of Formative

One of the major challenges was ensuring the video and lighting tied in together Picture courtesy of Formative

The PA was designed using L-Acoustics’ Soundvision

On point

MANY ARGUE THAT THE BATTLE BETWEEN LINE ARRAY and point source loudspeaker systems has been won by line arrays. Attend a concert anywhere and it will more than likely be reinforced by a line array setup. Line arrays are arguably easier to hang and are said to achieve an ‘adequate level’. Therefore, line array is deemed by many to be the industry standard. So, when a rental company, such as Triad Technical Services, opts to exclusively work with point source systems, such as those engineers at an event of the advantages that those systems deliver over their line array cousins.

This was no different when it recently when the Triad supplied the full technical setup at the Jordan Festival, which comprised three concerts taking place over a week-and-a-half period with an eclectic mix of performers taking to the stage at the Amman Citadel, upon the highest hill in Amman and overlooking the city. The opening night was dedicated to the singing of Lebanese composer Marcel Khalifeh, while Turkish dance troupe The Fire of Anatolia performed during the second event. The headlining act

Triad has provided the technical setup for the organiser, Friends of Jordan Festivals, on a regular basis, including the prior two editions of The Jordan Festival. ‘We have a very good track record with them and they know that we deliver highquality sound and lights for their events,’ says Triad’s general manager, Amjad Marar. ‘They stage events of a high quality for international artists. They know that we can match the quality as far as the setup goes.’

Triad made the decision to exclusively work with KV2 Audio after Mr Marar heard the Czech manufacturer’s VHD point source systems in action. ‘We came about working with

working with it. We were used to using line array systems in our rental stock, which we worked with on a regular basis until we heard the VHD system, which was a game-changer.’

Putting the VHD system to use for the festival was never in

engineer and tour director, Anthony Stabile. This proved a bigger obstacle to overcome than that of the outdoor and historically

point source system,’ recalls Mr Marar. ‘We had to educate them and this is where Andy from KV2 came in handy. They talked system versus a line array.’

‘Amjad called me out of the blue with an urgent request to contact Anthony Stabile, as initially, Anthony and his team had expressed some scepticism on the ability of a single point source system to project and cover the expected number of devoted fans,’ remembers Andy Austin-Brown, technical projects director at KV2. ‘It became immediately clear that whilst he was no stranger to point source system advantages, citing that he liked the idea of a more direct path of signal chain from electronics to transducers, and with a discreet lack of processor intervention, he willingly admitted that having used a very well respected brand of line array for the last 10 years, he now found himself more worried about common issues of coverage, dispersion and output, assuming that audio technologies had only really

Triad is used to justifying its use of point source systems over line arrays, but it took a little extra persuasion with the sound engineers James Cooke reports

The beauty of the system is such ease.

Yanni was the headline act

advanced in the line array domain.

‘Anthony insisted that sound quality for his artist was the number one priority,’ he continues. ‘I explained that the VHD2.0 system is more than just a point source design with the technologies involved, including faster settling time electronics for higher resistance to feedback and superior control over transducers, low “q horn” designs with ultra low distortion factors and lack of interaction effects between multiple units all enabled the system to do ably what he feared was not conceivably possible. At the end of the conversation, Anthony committed to going ahead with the system and I then proposed a system design based on his requirements and expectations in conjunction with Triad and Anthony.’

That system, which Triad supplied for all three of the festival’s

eight VHD 2.16 cabinets were ground stacked. Four VHD2000 implemented and four VHD 3200s powered the subwoofers. also deployed.

ease. You just have to get the height and the aim right and then you have everything in place. It’s not like a line array where

you need to calculate exactly how you’re going to angle every ‘FOH and monitor mixes were handled by two Avid Venue the backline that Yanni brought in from America. There was a point source systems over a line array solution: ‘When you use a line array system, the speakers are lined up in a vertical fashion. A line array’s natural frequency response before processing shows a continual roll off of high frequencies from 2kHz upwards due to cancellation caused by the proximity of the numerous high frequency drivers, so you will need to do some equalisation to correct this. This boost in gain on the highs lowers the system’s overall headroom. With point source you don’t have that problem because sound is delivered from one source.

‘With point source, the system is designed to deliver so much power, so much clarity and so much dynamic range that it can cater for massive audiences without any time shift problems between speakers.’

Once everybody was onboard with the proposed sound solution, the next challenge that the team from Triad needed to overcome was that presented by the venue.

‘We supplied everything, not just the sound system, but the production team with an OB van. The production team had six HD video cameras shooting the show. We even provided the

so that gave us a hard time when we set up the stage and the accomplishment in a very limited space.

location and because it sits on top of the hill, overlooking the old city of Amman, which is quite spectacular at night,’ he continues. ‘And Yanni is known to have played a lot of historical sites, such line with the kind of concerts that Yanni puts on. The Citadel is the Bronze Age, with the Temple of Hercules and the Ummayad up to the edge. At the other end, where the last row of seats was, the space.’ With this being the case, the point source system to be deployed to provide coverage across the site. The only requisite was that the speakers were aimed precisely. that does not cover the seated area, then you’ve got a problem,’ front to the back, so the speakers needed to be pointed upwards

towards the furthest seating location, which the system needs to be on axis to hit exactly. The sound rolls off a little bit, giving you smooth coverage, meaning that for people sitting throughout the venue – front, middle and back – the sound is the same. Of course you have a little more bass energy in the front. When we had the concert, we had to roll down the volume on the amp, operating at -3dB, because it was way too powerful for the space and that’s with just two speakers per side.’

While the point source sound solution was used for all three events, the same couldn’t be said for the lighting and stage setup. ‘During he planning phase, we had to take into account the requirements of the groups that were playing. We had a singer with a band, then we had the dance troupe. The whole setup had to accommodate their needs in terms of stage some compromises between all three, but the most important requirements were of course from Yanni, so that set the of lighting, each artist had their own requirement. We had the roof truss, so that came down to accommodate their individual requirements for lighting and monitors.’

The lighting rig, designed by Bud Horowitz, employed for Yanni

raving about the sound and, most importantly, Yanni’s team was impressed.’

as the project and stage manager, who also served as the video director.

With the festival concluded and the point source sound system

They typically ask for a line array system because that’s what they know, but when they hear the point source system, their viewpoint soon changes.’

www.kv2audio.com

www.triad-av.com

The festival’s diverse line-up included Turkish dance troupe The Fire of Anatolia

Jordan Festival was held at the Amman Citadel Triad supplied the full setup, including audio, lighting and even the stage

Yanni’s sound engineer was apprehensive about the point source system

Capturing the Spirit of Ecstasy

WHEN ROLLS-ROYCE OPENED ITS NEW DUBAI CITY WALK location it was clear that this was not just another showroom. This was a new concept from the luxury car maker where it wanted to ‘integrate itself into the lifestyle of its patrons’ by taking space amongst the purveyors of designer fashion, keeping with that premise, the result is not a car dealership, it’s a boutique.

‘The difference here from the other Rolls-Royce venues that you see around world is that it’s a boutique, so it’s a bit more focused on design spec,’ explains Adrian Goulder, special projects manager at Omnix, the systems integrator tasked with the A/V aspect of the project. ‘With Rolls-Royce, anywhere in the world you can always get their signature custom design, but here you’ve got the boutique factor. You can get hands on with everything from the leathers to the roof lining of the car and the carpets. When a client comes here, they want to feel pampered and luxurious. They want a coffee from a professional barista and want to see something new.’

As implied, technology is at the forefront of the manufacturer’s new concept. This is clear even before you enter the boutique, with huge LED walls dominating the exterior of the twostorey building. However, it is stepping inside that gives visitors of the Rolls-Royce experience.

Entering through the main door, patrons are greeted by a large LED wall and the abstract yet

the Spirit of Ecstasy, the iconic statuette that embellishes

every Rolls-Royce motor car. Head towards either the Pinnacle matches the movement.

turns you into the Spirit of Ecstasy,’ smiles Mr Goulder. ‘We used a P3 LED wall, the hardware and design is all done by

and it’s attractive.’

Staying on the visual theme, the venue has a number of screens displaying custom content, while upstairs in the Bespoke Atelier a large videowall of P3 LED panels delivers the retail environment, the demand for high-end technology has also led to the use of something completely new.

‘For displays we have Planar OLED transparent screens,’ it has screen mirroring with a tablet so you can use it as part of many people have seen a transparent TV before, so they want their own car.’

The audio side of the project was arguably the place where the least new technology could be used. ‘We have used Bose FreeSpace for the speaker system. Bose was the client’s choice,’ says the special projects manager. ‘You have 5.1 ceiling speaker systems in the various spaces around the boutique. The subs give the sound a nice kick for a full immersive experience.’

Control for the sound system saw Omnix turn to QSC. ‘We’re running Q-Sys for the audio network,’ says Mr Goulder. ‘Q-Sys touchscreen panels for control. There are four different audio

When Rolls-Royce wants to do something new and different, only the latest technology will do. James Ling

The impressive LED facade of the Rolls-Royce Boutique

Customers become the Spirit of Ecstasy thanks to skeletal tracking

Adrian Goulder, special projects manager at Omnix

EQ. For something of this size with this deployment, Q-Sys works well.’

The look and design of the boutique had already been decided before Omnix came on board. However, there were still plenty of decisions to be made about the technology. ‘We were given a spec saying there should be a videowall here and a screen there. And then we went through and looked at things like pixel pitches and different screens, like the Planar transparent screen. The design was done by Rolls-Royce and we got involved with the technology side of it,’ recalls Mr Goulder. ‘It was a loose spec so we were able to look at what they wanted to achieve and see how we could use the latest technology to do that. With Rolls-Royce being what it is, second best would not be good enough. It had to be the best of the best.’

With the technology decided, the installation itself was relatively straightforward. ‘The project was easy in itself because this whole building was done from scratch,’ says Mr Goulder. ‘We were in at an early point but there needed to be a lot of coordination with the main contractor doing things like getting cables run around the building. We were also pushed for time because they wanted to get it open for a certain date and for customers who had preordered cars.’

believes that the boutique provides a good example of where audiovisual technology can become an essential tool in the retail environment. ‘Ultimately,

showrooms and retail spaces have to have high levels of technology. It needs to be interactive and be able to be used as a sales tool,’ he reasons. ‘For the Rolls-Royce Boutique it merges back in where you can play with the physical objects like the leather or the actual that same sales tool and adding to the experience. When you are spending that much on a car, it’s the kind of thing you expect as part of the package. This is much more than just a showroom.

‘Rightly so, Rolls-Royce are the most prestigious car manufacturers in the world, everything has to be done to a very high degree,’ he continues. ‘But Rolls-Royce is a great client for Omnix to have and the location on City Walk is an important place for us to be able to show off. It’s done well as a venue and we’re very happy with the outcome.’

www.omnix.ae

The boutique has been equipped with Bose FreeSpace speakers

QSC touchscreens control the audio

Planar transparent screens can be used as part of the design process

Premiere upgrade

THE PREMIERE CLUB AT THE HYATT REGENCY HOTEL ON Dubai’s corniche is something of an institution. For 15 years the club has been pulling in a large crowd every night of the week to dance the night away. Yet despite its reputation, the club was in desperate need of a complete technical upgrade.

‘They haven’t spent any money on the technical gear for years and so the general manager here wanted an upgrade,’ explains Alex Bracken, CEO of Em-Tec AV, the company responsible for the technical upgrade. ‘The sound system was old and it didn’t really have a lighting solution, maybe a few moving heads. They were after something that was a bit special.’

While the Em-Tec team knew they could achieve this on the audio side with a Funktion One solution, it was with the lighting where the integrator really wanted to show off. Having initially started creating its own ‘madcap’ designs, Em-Tec turned to its trusted lighting designers, LEDS Control.

‘Rebecca and Miguel from LEDS Control in Barcelona are very good at what they do, they’ve done the lighting for some of the biggest and best clubs around the world,’ says Mr Bracken. ‘We got them involved with this project and their work programming the system has been amazing.’

The result is as breath taking as Mr Bracken had hoped.

that work together to form complex, beautiful patterns. ‘The end result is really cool,’ smiles the Em-Tec CEO. ‘There are three layers of LED. It’s a mixture of pixels and LED so it can do anything, it can even scroll writing. It can give 3D effects, it’s quite hypnotic.’

If this is the centrepiece, the rest of the lighting solution does not disappoint either. The integrator has combined old and new to create a large system for the lighting jockey. ‘We’ve got a system of lights, mirror balls and lasers with 24 moving heads

from Martin Professional and Robe,’ explains Mr Bracken.

‘Some of the Martin ones were already here and we brought in additional Robe Pointes. They are very good lights, they can do beam, spots and there are loads of gobos.’

Away from the lighting system, the other new visual elements for and a large 4mm LED screen behind the DJ booth. ‘It’s completely changed the look of the venue,’ says Mr Bracken. ‘The highresolution screens are a great addition to this place.’

If the lighting system grabs the attention, the audio does its best is now home to a powerful Funktion One solution that delivers the kind of performance that you can feel as much as hear.

The club itself is not a large space, and the Funktion One

cabinets. Meanwhile low end reproduction is delivered via three

‘It’s nice to do a traditional club setup every now and again,’ notes Mr Bracken. ‘It’s a nice system for this space.’

‘It was a simple design,’ interjects Em-Tec AV general manager,

challenge in some places,’ he continues. ‘We are going to put some acoustic curtains up to help with this though.’ booth. Here the standard Pioneer CDJ and DJM setup can be found with monitoring via QSC.

with the improvements the Em-Tec team have made. ‘The whole setup has really improved the look of the venue,’ he offers. ‘We’ve been able to reuse some of the elements from the old club and given it a new lease of life. For example, the trussing club’s

management love it.’

How the club’s patrons react to the new audio, visual and lighting solutions will of course be the ultimate proof of whether is still regularly witnessed each night is anything to go by, it has certainly achieved its goals. www.emtecav.com

F1201 cabinets provide the fills

The main system comprises four Resolution 2 cabinets; Robe Pointes have been added to the existing Martin fixtures

The Premiere Club in Dubai has received a well-deserved upgrade to its audio, visual and lighting systems. James Ling

Em-Tec has upgraded the audio, video and lighting systems at Premiere Club

DOMINO, the new full-range line by K-array

The Domino line is made of stainless steel which does not readily corrode, rust or stain with water making these speakers perfect for aquatic environments as well as traditional settings.

Premium products are also created made of precious materials, like gold, available on demand.

Enlightening the senses

AS PRO AUDIO MEA STANDS OUTSIDE BUDDHA BAR

in the Hivernage area of Marrakech waiting to get inside, there’s a steady stream of cars rolling up the Le Grand Savoy driveway. If an establishment of this type enjoys a certain grace period upon opening, then the Buddha Bar has managed to

But this is a story replicated worldwide. Since opening the original restaurant in Paris 20 years ago, Buddha Bar franchise owners, Raymond Visan and Claude Challe, have been steadily exporting their blend of Asian cuisine and orientalist atmosphere worldwide. Already enjoying success with franchises in Beirut, Dubai, London and Moscow, among others, the restaurant in Marrakech is the latest offering. A year after opening it is still widely considered one of the city’s hottest restaurants.

With seating for 450 guests, Buddha Bar is also one of Marrakech’s largest. Yet, despite a massive two-storey Buddha statue shipped in from Indonesia and placed in the centre of the room, there’s no shortage of space inside. High ceilings, soft mood lighting and a highly distributed-sound system combine to make quite a cavernous space retain its intimacy.

The venue itself is housed within the Menara Mall/Savoy Le Grand Hotel complex, and having already been tasked with providing zoned paging functionality for the complex and hotel owner, Pickalbatros Hotels, local integrator and Ecler distributor MimPex Audiovisual Professional was invited to propose an audio solution at the complex’ various individual establishments. MimPex general manager Paul Fuentes recounts how the project began. ‘After the owner received a licence for the Buddha Bar in this location, we proposed our solution. Having enjoyed success with a very-well known American loudspeaker manufacturer in several of their other establishments, the Buddha Bar guys in Paris initially had their reservations. Working with Ecler, we carried out acoustic simulations placing each one of the loudspeakers in a different

area for every single zone in the restaurant, and submitted a proposal for a complete audio solution.’

MimPex AudioVisual Professional takes on all aspects of a venue’s A/V, and with that in mind, handed over the audio design to Ecler’s projects department manager, Amparo Carrillo, at the manufacturer’s headquarters in Spain.

‘We demonstrated that it was a good technical solution and that acoustically there was an even sound throughout the space,’ continues Mr Fuentes. ‘The Buddha Bar guys in Paris work with a whole series of manufacturers but they’re very to convince them that our solution was as good as could be

of Ecler is that they’re able to provide a full audio solution, from control, and so on. This is something that many of the other brands aren’t able to offer. It was a little tough to convince them about swapping from brands they were familiar with, but they

They’ve had absolutely no issues whatsoever.’

The building is cleverly divided into several areas – a quick glance towards the ceiling and the eye inevitably comes to rest on an Ecler 8-inch Verso8 loudspeaker. From the main dining room, to the lounges, salons, private dining rooms, high tables and bar area, each spin-off area has its own distinct vibe and also its own distributed speaker system. In total, MimPex installed 56 (54 passive and two active) Verso8 cabinets for general music reinforcement throughout these various areas. While music is important to Buddha Bar, the venue isn’t a club, but it also isn’t really a traditional restaurant. As such, low frequency reinforcement is light and is handled by 14 delicately placed and hidden DacordSB212 double 12-inch subwoofers. ‘We hid subwoofers under the stairways, on either side of the entrance and discretely throughout the dining area,’ explains

The latest restaurant in the upmarket Buddha Bar chain is celebrating Simon Luckhurst takes a tour

Ecler sales director Luis Hinojar with MimPex’ Paul Fuentes and Tarik Med Mechmacha

Buddha Bar Marrakech is the most recently opened in the franchise

Subwoofers are decorated and hidden throughout the venue

Every room gets the same treatment

The front terrace zone receives BGM from eight Ecler Verso8 speakers

Mr Fuentes. ‘Several of the individual “spin-off” areas also have a single subwoofer hidden by the wall for the low-end.’

To cater for special events, MimPex augmented the main system with side of the central Buddha statue, allowing the house DJ to push the levels a little higher when required. Power for all of the cabinets comes from a variety of Ecler MPA4-80R, MPA6-150S, MPA4-400R, DPA1000, DPA1400, audio matrix. Outside music is piped onto the front terrace by a further eight Verso8 loudspeakers hidden inside decorative cabinets.

‘They use the big system for live events and the disc jockey over in the far corner has access to zoning with the digital matrix mixer through the Mimo88 screen, which is a tactile interface that allows you to switch explains Ecler sales director, Luis Hinojar. ‘For instance, the system could be setup for a live event or it could just be a regular DJ set who wants volume control over all of the zones.’

‘Buddha Bar has kind of a chill-out atmosphere for most of the evening, but then at the end of the night we move onto deep house and music that’s just a little bit more commercial to try and move people,’ adds the resident DJ. ‘This is not the kind of venue where people will be dancing night after night, but sometimes they do take to the stage. I’m able to easily control everything with the audio right here from the booth.’

For MimPex technical director Tarik Med Mechmacha, who led the

controller provided the greatest challenge. ‘We had

Ecler’s touchscreen controller and I did have some initial for three days, both for training and commissioning, and setting it all up by myself. Away from the technical work, the biggest challenge by far was securing the job.

‘With the expertise we have with our team of guys, it was fairly straightforward. The entire project took at the same time we carried out the project you have decorations running and so on. Sometimes you have to wait for other aspects to be completed before you can install certain things, which makes the job take longer. If we did everything ourselves without having to rely on other people then we could have completed the whole thing in less than two weeks. If you’re like us and you have a technical team stationed close by, this isn’t really a problem. We’re able to pop in and complete bits as we have the time. Often in Morocco, companies will send a team from abroad to work on projects and they wouldn’t be able to keep to these kind of timeframes. You really

locally like us. We’re also really close by if they need to call on us for anything in the future’

ultimately falls into place, and it’s often the unappreciated aspects that make the most difference. equipment and manpower made MimPex’s job a success.

www.buddhabar.ma

www.ecler.com

www.mimpexpro.com

www.pickalbatros.com

Firing down from the balcony, the larger system is only used for special events

A Mimo88 is used for zone and volume control A

King of spin

FITInc has opted for the kind of audiovisual setup more commonly found in James Ling goes for a spin

Pro Audio MEA would

Pro Audio MEA

Simple touchscreen control was important for the project

HK Audio speakers cover the main gym

A ceiling mounted sub provides low end in the main room

The NEC short throw projector

Selecting the best model of fog machine was one of the main challenges of the project

The audio setup in the studio

The spin room has a professional audio and lighting setup

School standards

WHILE EVERY PROJECT ALWAYS THROWS UP ITS OWN unique challenges, there is something to be said for taking a standardised approach. If you can start from a pre-designed template for a particular type of installation, then this can be tailored to meet the individual needs of each space.

This is the tactic that Dubai-based systems integrator, Oasis Enterprises Professional Projects Division (Oasis PPD), has taken for school auditoriums. With these spaces usually having a similar design and layout, the systems integrator has developed an audio, video and lighting design based on equipment it trusts that will usually deliver the performance a school requires at a budget it can afford.

‘Oasis PPD is a full service A/V, lighting and broadcast integration company which distinguished itself in those industries by the high standards and unmatched services that we provide to our clients,’ says Basel Al Aref, general manager at Oasis Enterprises. ‘We do this by providing the best advice, design and implementation of the most suitable solutions for their applications within their desired budget and time frame.’ One good example of this approach in practice can be seen at Hartland International School. Offering facilities such as dance studios and a black box studio, the Nad Al Sheba-based school prides itself on performing arts and drama. The school was in need of a professional solution offering the opportunity to its students to perform in a fully equipped auditorium and this is where Oasis PPD became involved.

‘This project was design and build for us,’ recalls Rajiv Kalandichekkyat, senior sales engineer at Oasis PPD. ‘The developer had called for an A/V design contractor and based on our previous experience and projects we had successfully delivered in this region the project was awarded to us.’

A further challenge for the design was that the auditorium had to meet more than just Hartland International School’s needs. During the week the space would be used for school productions but over the weekend it would be rented out as a performance venue. As such, the system had to be simple yet versatile. ‘We take care during the design stage as mostly these systems are

handled by IT departments,’ states Mr Kalandichekkyat. They need to be simple to operate hence we ensure that the entire system is integrated by Apple-based control systems.’

Turning to its standard design, Oasis PPD created a solution based around FBT loudspeakers to meet these twin needs.

‘We use FBT because of the reliability and price point of their systems,’ says Mr Kalandichekkyat.

Four of the Italian manufacturer’s Muse 210 LA cabinets have provide low frequency reinforcement. Supplementing the main

C amps have been installed with two on either side wall and a further pair on the rear wall. Processing for the solution is via the manufacturer’s DLM 26 while volume control is achieved with a Crestron C2N-VEQ4. On stage, four FBT StageMaxx 12 MA wedges serve as monitors for the student performers

overhead condenser mics.

Away from the stage, performances are mixed using a

Soundcraft Si Expression 3 console. This is located in the control room at the rear of the hall, which is also home to much of the audio, video and lighting equipment. With its separate location, audio engineers have the option of monitoring the performance two-way active speakers.

acoustic treatment. Everything from the wooden panels that been selected for their acoustic properties. In addition, the ceiling angled to create the optimal acoustic performance for the space. Oasis PPD’s standard model also met the school’s lighting and visual needs. The visual system calls heavily on products from Datavideo, Magenta and TVOne, while a Crestron AV3 processor provides the control. Sources including the JVC Blu-ray player and Datavideo PTZ camera can be displayed via the Christie screen and monitored from the Sharp 42-inch HD display. The lighting system draws on a traditional theatrical design.

from two bars high above the orchestra pit with dimming racks in the wings either side of the stage. These are joined on stage by further luminaires which can all be controlled by the ETC Ion console at FOH.

With Oasis responsible for all of these aspects plus the motorised stage rigging system, the main challenge was the timescale. ‘As in all projects the major challenge is time as we had just six weeks to complete the entire thing,’ explains Mr Kalandichekkyat. ‘In addition to this, we needed to do lots of customisation to the various products which stretched the timeframe even further.’

Having overcome this challenge, the Oasis PPD team are happy that the work done meets the needs of the school and more.

seems to be happy with our job,’ offers Mr Kalandichekkyat.

Oasis PPD has created a standard package for its school auditorium design. this approach, as James Ling discovers

Oasis PPD used its standard design for the Hartland International School auditorium

Hartland International School has a 700 seat auditorium

‘Major schools require such facilities for their own functions or activities such as annual events, performance arts and so on. There is also the possibility these spaces could be rented out. As such, having a standard design offers plenty of advantages and means schools can rely on a system to meet all of these different needs.’

While the project at Hartland International School highlights the success possible from taking a standardised design approach and adding some customised features to it. Mr Kalandichekkyat is keen to

state that the design itself also needs us adapt and improve our overall standard design and we are always looking for ways to build on it,’ he reasons. ‘Currently we are looking at the possibility of integrating the electrical system with renewable energy, such as solar panels.’

Having got full marks from Hartland International School and with the number of school facilities in the UAE constantly increasing, Oasis

standard auditorium design. www.oasisppd.com

FBT Muse 210 LA cabinets have been flown either side of the stage

Visuals are courtesy of Christie DWU-951-Q single chip DLP projector

Performances are mixed on a Soundcraft Si Expression 3 console

Acoustics are controlled via Vicoustics panels

FBT Archon 108 cabinets have been installed around the hall

An Epic install

Phoenix LAS was on a very tight timescale to ensure James Ling

EVERYONE IN THE SYSTEMS INTEGRATION INDUSTRY is used to tight deadlines. The audio and visual solutions are usually the last piece of any venue to be installed and project delays always mean that timeframes are squeezed to ensure opening dates are met. While this is the common story, sometimes it can be stretched to the extreme. This was the case area of Dubai. Here the project to tear down the old venue and replace it with the new club was scheduled for 25 days. ‘The club had 25 days to demolish, build and commission the show The Amazing Race our install areas were dispersed around the club, we had to run around in all directions waiting for whichever contractors were

‘We got it done by having a solid time management plan

would be versatile yet also meet the club’s budget. With the tight design and supply a solution it was familiar with. However, while it did this for the visual and lighting side of the project which extensive rig of moving head lights, when it came to sound the size and price point it’s a gem of a cabinet.’

very popular for events companies in the region as a three-way compact and inexpensive array system for versatile applications, so to have an installed solution is very important for us,’ notes Procom’s Rami Harfouch. ‘The Epic project is an important

Hosting everything from live bands to dance performances and

while a beyerdynamic mic set is called into action for the drums. While the design is simple, it needed to undergo a series of

start with a very thought out plan and drawings and will end with

With the project deadline met, Epic’s system has received

to that, the system was installed and commissioned by a professional company with great experience in a high-quality,

More importantly though, the solution appears to have also received the seal of approval from the club’s management.

them. We never miss a target opening date and we don’t intend on missing one ever.’

the systems integrator is happy to live up to.

www.phoenixlas.com

www.procom-me.com

Phoenix LAS was responsible for the audio, video and lighting installation at Epic

The Yamaha TF3 mixing console in the upstairs FOH position

Three Event 210A cabinets per side cover the venue

... and yet you are still led out of the terminal quickly and safely in an emergency.

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Powering brunch

BRUNCH IN DUBAI MEANS SOMETHING TOTALLY DIFFERENT from almost anywhere else in the world. While everywhere else recognises brunch as a late weekend breakfast that usually follows a well-earned lie in, in Dubai it is a social event. From the middle of Friday morning, locals and tourists alike gather at hotels and restaurants throughout the city to eat, drink and make merry.

If brunch is Dubai’s cultural gift to the world, then Yalumba has to be one of the principal reasons. Regularly rated as home to one of the best brunches in the city, the restaurant treats its guests to a plethora of international cuisine and means to party in Dubai.

Having spent a number of years developing this reputation, the restaurant’s management was understandably keen to maintain it. However, after years of loyal service the venue had seen better days and was in need of a refresh.

For some a lick of paint would have done the job, but not Yalumba. Everything at the Le Meridien Airport Village venue was stripped back to its bare bones and its design was completely reimagined. With the renovation came the opportunity to refresh and upgrade the long-serving sound system.

in the bars and clubs around Dubai. But while the venue wanted the company’s integration skills, it already had a style in mind

could meet these needs.

so we felt comfortable that they would be able to deliver what Yalumba required.’

‘Sonic Wave helped us out immensely right through all of AV. ‘It was good to work with a distributor for this project. It was handy to have someone else to take all the strain. With someone else to deal with that side of the business. We just have to arrive at the venue with the boxes provided. It’s one fewer step that we have to do so that’s great.’

With the supplier decided, the next job was to design the with them and drew up a speaker layout,’ recalls Sonic Wave’s quite a complicated space. It’s not a straightforward shape with where the kitchen is.

‘It’s a restaurant by day and a nightclub and lounge by night

Don’t get left behind

James Ling

Yalumba has received a complete make over

Yalumba is one of the icons of Dubai’s brunch scene

Order your Stealth Core 2 software now from

Although they are a little bit large for a normal restaurant it means it can adapt into a full on club or lounge in the evening, not to mention when brunch really gets going.’

‘The brunches here are legendary,’ interjects Mr Williams. ‘On a Friday afternoon there are 500 to 600 people here. So the system also a quieter restaurant to a full on brunch setup. That was a real challenge for us.’

The result has seen QSC E10 and E8 passive cabinets deployed around the restaurant. These are powered by the manufacturer’s Q-Sys core. ‘Q-Sys is great to use, it’s easy to program,’ says Mr Williams.

One of the major challenges for the project came from the layout of the redesigned venue. ‘The central pillars caused a few issues with coverage from the speakers so we have had to put quite a few speakers

had to use E10s for the project. We would have liked to have used more of the E8s as they would have been the perfect size, but we had to go for the larger cabinets for some of the locations. It works well though.’

Seeing as the restaurant was being completely refurbished, it was

essentially like installing a new-build venue for Em-Tec. ‘Because it was a complete strip down back to bare bones the project lasted for a few weeks off and on,’ recalls Mr Williams. ‘There was a couple of days of cabling then a couple more setting all the brackets in the right

everything off. It was a relatively straightforward project. The team here were really helpful and all the engineering guys who worked on the project helped to get it done as quickly as possible.’

With the interior upgrade complete, the integrator is now focused on refreshing the solution covering Yalumba’s outdoor patio area. ‘The

area. We are using the same brand of speakers outdoors and we are going to weatherproof them,’ says Mr Bracken. ‘It’s the heat and humidity that you really need to protect against here rather than the rain. It’s tough work for any outdoor speaker here.’

As implied by the use of QSC for

another important development to come out of the Yalumba project is the relationship between Em-Tec and Sonic Wave. ‘They now have a whole host of products, not just QSC, and based on the service we’ve received for this project, we are going to be using them a lot as a one stop shop for a lot of our projects in the future,’ states

We make interpreting FUN

Mr Williams. ‘We’ve had a good well for us.’

Following its redesign Yalumba is once again open for brunch, its reputation re-established and its new sound system ensuring the party will continue.

www.emtecav.com

The audio solution was purchased via Sonic Wave

The solution was installed by Em-Tec AV

QSC E10 and E8 passive cabinets have been deployed around the restaurant

Hall 3 Booth A136

Looking to the future

WHEN A HIGHLY REGARDED MANUFACTURER CELEBRATES its 70th anniversary, the sensible thing would be to take a trip down memory lane and explore exactly what has given that brand its longevity. However, as JBL marks this milestone, the talk is very much about the future not the past.

Towards the end of 2016, Korean technology giant Samsung announced it was to acquire Harman, JBL’s parent company. While pro audio is only a small portion of the overall Harman portfolio, the brands that fall under the Harman Professional umbrella are some of the most recognisable in the industry. As such, this proposed deal has raised questions about the future of brands such as JBL and where they will sit under the new organisation.

The instant answer to this question is that it will be ‘business as normal’ for all the Harman Professional brands. But what exactly does that mean for JBL?

‘From its very inception over 70 years ago, JBL has always stood for innovation in the service of the highest performance in sound production and reproduction,’ offers Mark Gander, director of JBL technology for Harman Professional Solutions. ‘If we look at where we have been and where we are now, through the perspective of technological innovations and the products which embody them, we can view the path and vision for the future of JBL loudspeakers and sound system solutions.’

This means that the manufacturer will continue its focus on every technical aspect of a loudspeaker to keep advancing its products. ‘Throughout all the years, there has been a continuation of the JBL tradition of focusing on advancements in transducers – the heart of the sound system – with new patented technologies for higher output, with smaller size for Mr Gander. ‘The JBL tradition set by founder James B Lansing is to employ the latest materials, design innovations and manufacturing techniques to advance the performance of the transducers. From used in the ground-breaking D130 15-inch loudspeaker in the for high energy, small size and light weight transducers, JBL has pioneered the application of new magnetic materials.’

Perhaps most-pertinently for recent developments is the manufacturer’s eagerness to learn from companies in other

industries. ‘Keeping abreast of technological and material developments in aerospace and other industries allows JBL to keep at the forefront of innovation and performance,’ states Mr Gander.

It is not just the materials that are important for the next generation of JBL loudspeakers. Power density is another vital factor. ‘Customer demand for higher output and smaller size from loudspeakers and sound systems continues to necessitate the creation of unique electroacoustic solutions,’ reasons Mr Gander. ‘Modern arraying techniques require the placement of multiple transducers in close proximity to one another to achieve these goals. Power Density is putting more voice coils, acoustic diaphragms and acoustic radiating systems in smaller spaces and packaging them in multiples, for both the same frequency range and to combine multiple frequency ranges. This yields high power handling and greater acoustic output in smaller physical packages.’

The examples that Mr Gander gives of this in practice is JBL’s Differential Drive cone transducers and D2 dual diaphragm compression drivers. These share the use of two voice coils in two magnetic gaps, which the manufacturer states effectively doubles the power handling and acoustic output while halving power compression. ‘The innovative physical design of the assemblies and the use of small but high-output neodymium

that multiple transducers can be placed in close proximity,’ he explains. ‘The result is complex assemblies with multiple drivers

JBL’s PRX800 family

JBL namesake James B Lansing

An early D130

The proposed acquisition of Harman by Samsung means there is no better time to explore what the future holds for the manufacturer’s 70 year-old brand JBL

that achieve the high output small size goal in systems as diverse as VTX line arrays, CBT column arrays, and VLA stadium and arena speakers.’

Importantly for the future, research in this area continues to bear fruit. ‘JBL already has patents on new ways of making high power multi-coil-and-diaphragm transducers for even higher power density and acoustic output in more compact form factors. In the near future these will be revealed in new products

Of course, the future technological developments of JBL speakers are not limited to the transducer. The manufacturer is exploring advances in every loudspeaker component. Directivity has always been important with the manufacturer making constant advances in its waveguide technology for different was purchased by Harman in 2013, bringing digital control of dispersion into the JBL toolbox. ‘JBL Intellivox Digital Directivity Control provides the technology that creates this solution,’ says to next-generation adaptive pattern control for VRX line arrays.’ Away from the physical components and akin to the work that for the manufacturer in the software side as well. ‘JBL and Harman products are involved in continued and accelerated into loudspeakers,’ he states, citing the PRX800 powered loudspeakers with Wi-Fi and DSP which can be controlled via the PRX Connect app as an example. ‘This is one example of how we are committed to the development of more elegant and great sound as easily as possible for both the operator and the listener. JBL and Harman’s goal is continued evolution of software integration for both operational sophistication and operator simplicity.’

The individual developments in both physical and electronic components of loudspeaker design are positive signs for the future of JBL. But perhaps the ultimate expression of where its future lies comes from areas where its hardware and software development programmes combine, such as the LSR4300

Correction, our exclusive technology that automatically analyses and corrects the response of each speaker in the room for absolute accuracy at the mix position,’ explains ‘The future of JBL will see an evolution towards complete onethe sound system to its environment, whether that’s in studios, on stage or anywhere sound production and reproduction take place.’

While there is the potential for many things to change at JBL when it comes under the ownership of Samsung, the attitude it has when it comes to product development is not one of them. ‘Our past, current and newest products indicate our directions for future developments, and the passion for performance that has carried us from the past through to the present will drive

If Samsung’s promise of ‘business as normal’ does prove to be the case, then there should be some interesting new developments to come out of JBL’s R&D department. That is the kind of 70 year legacy any company would be proud of.

www.jblpro.com

Mark Gander

The technology behind JBL’s Differential Drive cone transducers

The D2 dual diaphragm compression drivers

Demystifying Sound Masking

Sound Masking is coming out of the shadows, but many still don’t Simon Luckhurst drowns out the noise

www.cambridgesound.com

www.sounddirections.co.uk

www.wildandmarr.co.za

IT’S BIZARRE TO THINK THAT FOR AN INDUSTRY FOCUSED

Pro Audio MEA

The emitter barely stands out among the other ceiling peripherals

An installed Cambridge Sound Qt Active emitter

A very early sound masking system

Cambridge Sound’s Qt 100 system

A letter from America

The recent US elections made a lot of noise, but we got to hear all of it, writes Dan Daley

DURING THE 2008 AND 2012 US presidential elections, I was fortunate enough to be allowed onto the sites of three of the debates. I was part of the technical team, thanks to Audio-Technica, which allowed me –after proper vetting by the Secret Service – to get up close to the stage, standing next to the broadcast A1 Mike Abbott as he mixed the audio for the debates between Barack Obama and John McCain in 2008 and Mitt Romney in 2012.

At both debates, I was shadowing the late, brilliant Larry Estrin, who supervised the audio for the Commission on Presidential Debates (CPD), the non-partisan group that organised the sensitive events. Sadly, Larry passed away earlier this year. But even his presence would not have assured me a place on the stage. As the CPD watched the madness of the election cycle unravel, it clamped down on its information spigots. The 2016 US presidential elections were the climax of a long and theatrical season of drama, comedy,

farce and burlesque, interspersed with the verbal equivalent of mixed-martial arts combat, conducted in large part by Donald Trump, a pompous ass who nonetheless – startlingly, terrifyingly, and ultimately depressingly – was elected President of the United States of America.

But despite the result, what the debates and the rest of the circus-like environment around the elections revealed is how central audio was to the outcome of the most powerful elected revelation of Mr Trump’s lascivious comments while on a luxury bus on the lot where the celeb-biz programme Access Hollywood was videotaped in 2005. The reason we heard that audio is because a microphone on the video camera chronicling the visit by Mr Trump and presenter Billy Bush was left on. In this sense, the microphone has become, in an age when video surveillance is ubiquitous, the omnipresent ear, ready to collect whatever is in earshot without discrimination. You have to

A letter from Europe

Phil Ward Fairlight’s acquisition by Blackmagic Design

NOW AND THEN, A REALIGNMENT OF brands occurs with truly global consequences. Whether you’re sitting in Europe, Asia or the Americas, such events cannot pass without comment – and this is one of those occasions as Fairlight’s audio heritage passes to digital video giant Blackmagic Design.

Two years ago a phase of ‘recapitalisation’ began when Fairlight became wholly owned by KFT Investments, leading to organisational restructuring, the installing of Philip Belcher as a fully briefcased CEO and some new product strategies – especially, of course, the launch of ‘live’ consoles Evo.Live and Quantum.Live; a new OS; and a typically big, fat audio engine – the CC-2 – for the new age of playback channels, inputs and output busses in the gazillions. Oh, and an objectbased 3D audio platform too.

I say ‘live’ with those cautionary inverted commas because these are not touring

models to compete with DiGiCo, Midas or even Avid: they are optimised for what CTO Tino Fibaek calls ‘semi-stationary installations’, which largely means OB. This is still a broadcast and postproduction portfolio despite the appearance of the buzzword ‘live’ in the epithets and, if previously there may world of runners and riders, I doubt if it’s as clear now.

KFT Investments is a privately held company with interests ranging from biotech, aviation and agriculture to hospitality, aged care, property development and plain old venture capital, so the recording of a pop gig will no well beyond page 207 in the annual report. Nevertheless, the grooming of Fairlight for sale appears to have gone to plan as well as anyone could have expected, and probably better. Blackmagic Design has all the hallmarks of being a perfectly suitable home.

point a camera; an omnidirectional microphone doesn’t need anyone to pull the trigger.

Mr Trump’s audio foibles and they were many, were not the only times that recorded sound affected the course of history. There was the time in 1984 when President Ronald Reagan joked ahead of a radio address, ‘My fellow Americans, I’m pleased to tell you today that I’ve signed legislation that will outlaw Russia

That didn’t take long to leak out. In 2009, a television network caught President Obama calling Kanye West a ‘jackass,’ which had the extremely rare effect of prompting consensus between him and Republicans. Then there was the most famous audio clip of all, made so by its absence: the 18-and-a-half-minute gap in the sound from one of the Watergate tapes. And while it didn’t stave off President Richard Nixon’s historic resignation, it did at least keep possible impeachment, indictment and conviction at bay. But audio issues dogged this election more

debate, Mr Trump complained that his podium microphone had problems, that its volume was lower than his opponent’s, and that it any problems – and the broadcast audio was a terse, cryptic statement: ‘there were issues regarding Donald Trump’s audio that affected the sound level in the debate hall’ with no further explanation.

The lesson that each of these instances reinforced was that you should treat every microphone as ‘hot’ – constantly on, as it likely is. But that lesson will be ignored, as it always is. And perhaps that’s as it should be. If every world leader and entertainment celebrity was completely circumspect in their speech, we might never fully learn the truth of their deepest sentiments. Worse, it could make for a boring election. And that, unlike even the worst of Donald Trump’s unsavoury utterances, would be truly unforgivable.

You can’t help comparing it with Avid’s acquisition of Digidesign in 1994. Both of those companies started life in the USA, and both Blackmagic and Fairlight were founded in Australia. That goes a long way towards melding the corporate DNA, despite the global evolution that has ensued. The collection of digital video brands over the years by Avid and Blackmagic has been relentless, but it was the Digidesign purchase

that digital media – multimedia, really –could co-exist under a protective umbrella of synergies. Others like Roland have proposed a similar creative nirvana where audio and video co-exist more intimately, but in truth the two disciplines maintain too many discrete professional requirements. Clear divisions, in every sense, must be preserved. One key difference is that a transmuted

Last year Fairlight CEO Philip Belcher told me

that new horizons beckoned: ‘Fairlight has a lot of patented IP that we developed for the audio industry, but we’re also looking at that technology being used in other industries,’ he said. ‘For example, we have successfully licensed Picture Key technology in gaming machines where human-machine interaction with positive tactile interface is essential.’ This, now, is precisely where Fairlight will concentrate – sans audio.

Whether that means ‘Fairlight’ will disappear as an audio brand, as Digidesign has, time will tell. Thankfully, the technology will not. Blackmagic’s gift to Mr Fibaek and the other key members of the audio team is, essentially, manufacturing and distribution on a grander global scale. Once again, audio has had to buddy up with a much bigger industry to survive: the invisible essential, so often the afterthought, takes refuge where the light of investment shines so much brighter.

If you’ve missed an issue, wanted to refresh your memory on an older project or simply wanted to delve into the history of the pro audio industry in Asia, Africa or the Middle East then the Pro Audio Central archive is the place for you. Our fully searchable collection of Pro Audio MEA Pro Audio Asia, and Worship AVL digital editions dates back to 2010 and is free to view. www.proaudio-central.com

Pro Light & Sound ME

Was the inaugural Pro Light & Sound Middle East anything more than Palme by another name?

IT IS VERY DIFFICULT TO CATEGORISE THE SUCCESS OR otherwise of the inaugural Pro Light & Sound Middle East. A look could do with a gentle 10 minute stroll around the aisles.

Views from the show floor

decided to take stands. The end of the Palme show was a small contingent that would match this criteria amongst some well-known manufacturers including Sennheiser Bose Genelec Adam Hall and Penn Elcom as well as local Electronic and Echo Beats.

ElectroVoice dBTechnologies Dynacord and Z Sound and the RME’s Joost Bullens and Jan Leerschool from Pan Acoustics

seeking solutions. tradeshow.

A number of local distributors as well as manufacturers decided to take stands at Pro Light & Sound Middle East, but was it a worthwhile exercise?

beyerdynamic was on the AVL Electronics stand

Echo Beats launched its new webstore at the show

Bodo Falkenried on an Adam Hall booth which featured a debut for the Vibz24 dc console amongst various products from LD Systems, Cameo and Gravity

PAMEA: How do you feel the show went?

CDC: We were very happy with how the show went. Inaugural exhibitions are always exciting and challenging in equal amounts, but thanks to our exhibitors who believed in us and in what we’re trying to achieve, we managed to pull it off. A measure of success in a trade show is not just building on existing markets, but creating entirely new ones through new ideas and innovation.

PAMEA: What positives are you drawing from the event?

CDC: From the outset, we had the biggest names in the business on-board – Martin Professional and Sennheiser signed up as founding partners, and they were soon joined by the likes of Bose Professional, Adam Hall, Monacor International, and Bosch. This indicates there was a clear gap in the Middle East market for a trusted exhibition such as Pro Light & Sound to

make its mark. We wanted to replicate the key elements that the unique needs of this fast-growing and dynamic region.

PAMEA: What feedback did you get from exhibitors?

CDC: The exhibitor feedback has been very positive, and for the most part PL&S exceeded their expectations. Many commented on how lively the show was thanks to features such as the live outdoor demonstration area, and interactive seminars. They also commented on the variation of visitors coming from not only received strong business leads.

PAMEA: What will you look to change for next year?

CDC: It’s not necessarily a matter of making major changes, but building on what we’ve already established. We have all the key elements in place, it’s now a matter of making them bigger and better. We will work strongly on the fringe programme to make the show even more attractive and a point of reference for the regional industry in terms of the educational aspects, technologies and innovation. We will also grow Stage On! –our live outdoor demo area. We are analysing the results of the launch edition, and if there’s a case for which something can be changed for the better, we will implement that accordingly.

PAMEA: Will you shift the dates to better meet the needs of your target market?

CDC: take into account all the various factors that come into selecting these, including market needs and expectations.

PAMEA: The cost of floor space was expensive, do you

feel it provided value for money?

CDC: We always try to provide the best service to our customers, and the ROI can be evaluated only after a certain period; for a show it usually starts after six months. We’ve invested in creating the PL&S ME brand in the region, and this brand awareness will increase and along with it the ROI of exhibiting companies. The show is on par with others in the same industry in terms of expenses, but includes free value-added services such as the Business Matchmaking Programme, the PD Portal, and extensive marketing and PR campaigns for all exhibitors.

2016 Dates: 31 October – 2 November

2017 Dates: 17 – 19 October

Venue: Dubai World Trade Centre

Total exhibitors: 37

Attendance: 1,607

Contact: www.prolightsoundme.com

The organiser’s view

At the end of Pro Light & Sound Middle East, Pro Audio MEA sat down with show manager Ciro Del Core to address some of the issues raised PL&SME

Ciro Del Core

Bose had a large presence at the show

Category sponsors Headline sponsorDrinks sponsor

InfoComm MEA 2016

With questions asked about its proximity to UAE National Day, Pro Light & Sound ME

IN THE BUILD UP TO THE FIRST STANDALONE INFOCOMM MEA, the question was whether it would have the same pull away from the Gitex supershow where it was formerly codays, people have been pleasantly surprised.

The timing of the show has always been a concern, coming so soon after the National Day weekend and a matter of weeks before ISE. But despite this InfoComm MEA drew a reasonable crowd. There was the time and space for high-level conversations and there was a general sense of relief that the steady trickle of visitors who came throughout the show were relevant. While Gitex delivered the quantity it would seem the standalone event has brought in quality visitors for a more focused offering.

And there were some interesting offerings for people to see when they did head to the show. There were a variety of wellappointed booths from a good mix of both manufacturers and their local partners. The likes of Procom, Extron, Sennheiser, Yamaha and d3 Technologies all had well-designed spaces highlighting some interesting technology.

Views from the show floor

There was equally some new equipment on show for the Shure’s SystemOn, QSC’s Q-Sys A/V to USB bridging solution and the G3 Paperless Congress System from Taiden. With the usual InfoComm standard of seminars plus the

‘We thought the show might be a bit UAE centric but we have seen customers from Saudi, Kuwait “busy” but generally I’m quite pleased. It’s quite a tough, competitive market here but we have something quite unique with our offering.’ Rod Geary – Clockaudio

Digital Signage Summit, there were also a fair few educational offerings to encourage visitors to stay.

Praise is also due for aspects such as the signage to the show – an area that was often a bugbear during the Gitex days. With its location in the new halls at the World Trade Centre it would have been easy for people to get lost. But the shuttle bus from the plaza area plus the red carpet leading from the main halls all the way to the show were an important counter to a potential issue.

This is not to say there was resounding praise for the show. There are clearly some growing pains as InfoComm MEA sheds its Gitex skin. Exhibitors will expect to see more visitors as the show continues to grow, particularly from the wider region. And stumbled across InfoComm a few years ago have gone out of their way to come back now that it is a standalone event.

Whether InfoComm MEA has the pulling power as a brand to encourage people to head to the show during a busy time of year is still up for debate. However, the organiser can be pleased it has produced a result that was better than many had expected.

Beky Cann of Peerless-AV on a stand that highlighted its digital signage solutions

‘It’s been a good show and we’ve had some good quality leads. It’s been great being part of the Digital Signage Summit and we’ve had a a bit better but so long as we get the ROI from the people that we’ve spoken to then I think it will be worth our while being here.’

Beky Cann –Peerless-AV

‘The show has been educational. I think everyone who’s here came in wondering how it would be, and whilst the quantity of people through the door hasn’t been gigantic, the quality has been high. From our perspective, it’s something that we would seek to do again.’ Stephen Patterson – Biamp

‘The interest in InfoComm MEA for us is to meet more integrators for installation. Fixed installation in large venues is a big part of our activity and we have to show our solutions, such as perspective layers 3D PiP, to integrators in the Middle East because it is a large market. We haven’t seen a lot of people, but if you have a few good contacts per day, it’s wonderful.’

John de Cet – Analog Way

‘I’m not saying that the visitors from Gitex were really coming there from important places who ended up in our hall. You don’t get that here. We have seen some good people but it was the unexpected people who were the advantage of Gitex. InfoComm needs to rethink the timing and how to motivate people to come here otherwise it will fade away like Palme. Elmira

Moraveji – beyerdynamic

‘Generally I’m positively surprised, but I must admit that my expectations were not very high. I thought it would be a purely local show like Pro Light & Sound, but I’ve seen people coming from other countries which is positive. But in general it is not so busy.’ Chris Hellmuth – Vivid

AV Media

QSC’s Ercin Ural highlighted the Q-Sys AVto-USB bridging solution Taiden showed its G3 Paperless Congress System

The organiser’s view

PAMEA: How did you feel the show went?

RT: Given the economic conditions prevailing in the region, the show went better than we had anticipated, and judging from the feedback that we received it exceeded the expectations of the majority of exhibitors as well.

PAMEA: Did you feel it worked separately from Gitex?

RT:

every visitor who came to the show came for InfoComm MEA. Exhibitors did not have to waste their time talking to people who happened to stumble upon them when they drifted through from Gitex.

It was also evident from the conversations happening in the booths that visitors took time to have meaningful discussions with exhibitors. Visitors were more enthusiastic about coming to the show without the challenges of high hotel prices, bad allowed our concierge matchmaking service to work its magic more effectively.

PAMEA: Were you happy with the quantity and quality of attendees?

RT: A total of 3,160 visitors attended the show over three visitors (those that registered at InfoComm MEA, excluding walkthroughs from Gitex) we had in the four days of last year’s show. As for the quality of the visitors, we expected

them to be of high quality and we were not disappointed. Almost all exhibitors shared with us that they met with highly relevant visitors and were pleased with the quality of people.

PAMEA: Do you think the December timing worked?

RT:

to contend with in our planning of this show. We secured feedback from exhibitors at the get-go, and the overwhelming majority said they preferred a December timing and so we went with this. As time went by, some concerns were raised but judging from the outcome of the show both from the perspective of quantity and quality of visitors, I think this timing had worked for more so than against the show.

PAMEA: What are you looking to improve for next year?

RT: We will be working hard to bring more exhibitors to the show. We lost quite a few from last year who didn’t think the show could deliver sans Gitex, and I think this year’s show to bring in more end-users to the show, and are already in discussions with various organisations that will help us achieve this.

PAMEA: Now you have gone out on your own, would you consider collocating with another show again?

RT: Certainly not with another A/V-related show.

‘It is better than expected, but expectations were not very at Pro Light & Sound which is very much appreciated. I met a number of people from Saudi, Qatar, Lebanon and Kuwait. challenge.’ Klaus

2016 Dates: 6 – 8 December

2017 Dates: 5 - 7 December

Venue: Dubai World Trade Centre

Total exhibitors: 87

Attendance: 3,160

Contact: www.infocomm-mea.com

At the end of InfoComm MEA Pro Audio MEA sat down Richard Tan to address some of the issues raised at the show

Seitz – Bosch

response is alright, we are meeting some people from outside the UAE where we represent some products which is good. It has Thomsun Trading

Sennheiser ran a series of TeamConnect demos at the show

Dutco Tenant hosted a number of manufacturers on its wellpositioned stand

Qazi Hassan Ataullah from B tech Audio Video Mounts

Moswain Antao from Shure MEA

Televic Conference products on the Venuetech stand

Shinya Uchida on the Yamaha portion of the Thomsun booth

From Black to Blue

ANYONE WHO’S EVER DABBLED WITH RECORDING, BE IT professional or for fun, will know that sinking feeling when halfway through an important session, the monitor you’re perched in front of goes blank. If you’re lucky, it happened in the studio and while regaining that magical take could be more illusive than presumed, at least you have a chance. But if failure happens during a live concert recording, it’s game over. Suggest an artist that would be happy with the scenario – because Pro Audio MEA can’t. It might be embarrassing at the time, but more importantly, it might well cost you future work. If an artist feels like they wasted time and money with nothing to show for it, why would they return?

As someone who not only understands and appreciates this Duggan, decided something must be done.

‘I produce music and record bands in my home studio, but also live. Having used lots of different computers in the past Logic, it’s always occurred to me that there’s no protection when your workstation fails,’ recalls Mr Duggan. ‘I remember having a not very reliable setup some time ago, and it becoming very frustrating, very quickly when the DAW kept crashing and I didn’t know why. It was embarrassing for me then, so for people in professional studios that are recording a big artist, it must be horrible. That’s where the original concept came from – a professional system that can protect you against losing your recordings.

‘But it’s not only suitable for studios, there are a lot of people out there who record bands using a laptop and an audio interface. They have no backup and laptops have a lot of background processes running. Something happens at the gig, the laptop fails and they’ve lost all of their work. It seemed to be a useful idea to not only have a system that worked well in the studio but which could also be used as an audio interface in live scenarios, so you can be making a recording there, and also making a secondary backup recording.’

The idea seems obvious, yet it appeared that nobody had set to work on a solution. ‘After coming up with the idea, I did lots of market research, seeing what was out there and

whether there were any products that currently provide this kind of functionality. I didn’t come across any. So we realised that there was room for something new. A product that, as it happens, has ended up becoming an entire range because this key feature is so unique.’

the US has already been deploying BlackBox recorders to, in effect, manually simulate the functionality BlueBox provides. ‘They have a BlackBox in every single room, recording allday long so they don’t miss anything at all,’ says Mr Duggan. However, the BlackBox and DAWs within that facility still operate independently. BlueBox represents a bridge between the two. There are currently two models available in the BlueBox range, the BBWR24MP and BBWR08MP, with a third planned products in September. There’s a third product, the BBWR24B,

product, the BBWR24MP, has 24 inbuilt preamps in a 1U box, which was a fairly impressive bit of design and a challenge to say the least. The third version being released now doesn’t have any preamps integrated at all, and follows in the heritage of our very successful balanced BlackBox, the BBR1B.’ The second BlueBox already available, the BWR08MP, offers the number of switchable input channels to eight and providing 16 dedicated balanced inputs.

protection from failure is in its DNA. Having established the company in 2007 to launch the BlackBox Recorder in 2009, has built its reputation on this premise. Interfacing its systems with computer workstations, however, brings an entirely new set of challenges.

‘We have a great hardware and software development team that are very experienced and have been in the industry for a long time,’ explains Mr Duggan. ‘They have experience with

Imagine recording in a world without fear of losing that golden take. Simon Luckhurst

The BlueBox range marks JoeCo’s first foray into the world of audio interface technology

The front panel of the flagship model, BBWR24MP

Francis Duggan of JoeCo

writing drivers, but from so long ago that it was before Windows even existed. Mostly, we were starting from scratch. This meant there was an incredible amount of research involved. You really have to understand what you’re letting yourself in for rather than

the market research, what we wanted to achieve, its target markets, and then the technical information that we need to

encountering things you’d never considered.’

It would be naive to underestimate this task. Asked whether

Pro Audio MEA is

internal design is really quite different and we’ve added some new features that the BlackBoxes do not have what so ever. For

BlueBox has advanced monitor mixing functionality redone the majority of the electronics, changed some things that we’ve wanted to change for a long time in the BlackBox range to make things sound better – not that our systems

‘We’ve also added some features that are useful for a variety of situations. It’s got wireless and Bluetooth control, so you can

which is fairly unique.

the devil is in the detail, yet so are the rewards. Asked which

and laying everything out and watching all of those ideas come

we’ve always tried to make them suitable for lots of different considered until now.

aim, as it’s the thing we hadn’t done before. I’ve used a lot of being a really great interface is just brilliant.’

in a world that continues to shun the hardware-only domain, BlueBox is the logical conclusion – a best of both solution.

www.joeco.co.uk

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BlueBox can be used both as an audio interface and backup recorder

Rear panel connections of the BlueBox BBWR24MP

Does a partnership model work in live events?

The Network Crew team