Pro Audio MEA July–August 2017

FEATURES

LEADER

One of the subjects that has frequently come up in my conversations over the years has been the need for a permanent multi-functional arena in the UAE. While many venues have tried to meet this need, the challenge has always been to create a space that can prove to be commercially viable all year round. It needs to be big enough that money can be made from large touring productions, yet intimate enough that much smaller events can also be staged.

The answer to this conundrum could well have been found with the Yas Arena. Announced as a multi-purpose arena, when construction is completed it will form the focal point of a waterfront promenade on Abu Dhabi’s Yas Island. With a scalable capacity from 500 to 18,000, the venue has been designed to host a diverse set of events, including community gatherings, concerts, performances, sporting events, and meetings and conventions. It will also feature a VIP lounge that can be transformed into a grand ballroom for events, hospitality boxes and terrace bars for receptions and parties, meaning there are plenty of opportunities for the space to be used commercially.

18,000-capacity venue is that its architects, HOK, cited technical needs and acoustics as key aspects

Perhaps the most important thing about the announcement though is the potential it offers the UAE’s rental community. If the Yas Arena proves to be commercially viable as a year-round venue then the concept will be replicated elsewhere in the country. This will provide the ability to move away from the seasonal model for outdoor events, something that will become increasingly important

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IN THIS ISSUE

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Pulse pumps sound into Base Dubai

UAE: Pulse Middle East has provided the audio, visual and lighting systems at newly opened super-club Base Dubai, including a TW Audio system powered by 2

venue. Base Dubai is owned and operated by Bulldozer Group, which has worked with Pulse Middle East on several of its other venues previously. With a capacity of 2,000, the club opened to a weekend lineup that featured performances from Swedish DJ Axwell and American rapper 50 Cent.

mode. Reinforcement towards the rear of the super-club is handled by four T30 loudspeakers, while six T20 point source cabinets serve

The TW Audio setup comprises two main hangs of four T24N loudspeakers, a centre pair of BSX subwoofers beneath the stage and eight S33 directional

and behind the DJ. The DJ booth itself is installed with a monitoring solution consisting of two T24Ns and four B30s, which are reportedly capable of playing back 143dB of undistorted audio up to 1m away.

For the subwoofer array, Pulse Middle East used an EASE simulation to ensure that the low frequencies were precisely catered

RCF Group gains strategic partner

WORLD: Designed to accelerate current growth plans, Palladio Holding (PFH) has acquired a 30% stake in the RCF Group. Based in Reggio Emilia and Bologna, the RCF Group, which comprises both the RCF and dBTechnologies brands, broke away from Loud Technologies in November 2003.

RCF Group CEO Arturo Vicari will continue to lead the management team together with CFO Remo Morlini and chairman Alfredo Macchiaverna. Vice president Nicola Iorio from PFH joins the management team in addition to PFH CEO Giorgio Drago and Nadia Buttignol.

‘We are excited to join RCF Group

and eager to be able to make resources and complementary skills available to help achieve the development goals,’ commented Mr Drago. ‘RCF Group operates in a sector with excellent growth prospects.’

Mr Vicari noted that in PFH, RCF Group had found a partner with the expertise to help it achieve its business goals. ‘We know how to produce excellent sound and the success that we have had in

but now we have the support of a CEO explained.

www.pfh.eu

www.rcf-group.it

for, so as to evenly cover the entire venue without spilling into the neighbouring residential area. employed to drive the entire sound system, offering up to 180,000W meanwhile, are all from Vision Pro-lighting and are controlled via a ChamSys MQ500 stadium lighting console.

Given a tight deadline, Pulse Middle East completed the entire installation in 23 days. ‘The speed and quality of this project is a

testament to the boundary-pushing capabilities, technical knowledge and passion provided by our expert team,’ said Pulse Middle East managing partner Joe Chidiac. ‘Base Dubai is a shining example of a world-class project, completed on schedule and executed within budget.’

The client was impressed with the installer’s work. ‘We have worked with their company on many previous projects and have found them to be thoroughly professional and reliable with an extensive product portfolio,’ said Evgeny Kuzin, managing partner of Base Dubai and Bulldozer Group. ‘We look forward to continuing our relationship with Pulse Middle East.’ www.pulse-me.co

Al Jazeera chooses D*AP8 for new transmission area

QATAR: Jünger Audio’s D*AP8 digital audio processors have been installed to control and regulate the sound for four of Al Jazeera’s main television channels. The installation was carried out in a new central transmission area, which was built as part of the Al Jazeera Workplace Transformation Project.

The new transmission area

– one for each of the four channels (Al Jazeera Arabic, Al Jazeera Mubashir, Al Jazeera English and Al Jazeera Documentary) and one spare. In total, 10 D*AP8 processors were installed in a central apparatus and are controlled via a Jünger Audio X*AP RM1 remote panel.

‘We always strive to ensure that we deliver the best quality video and audio content,’ said Ali Elhusseini, head of network operations standards at Al Jazeera.

‘We want to ensure that what we broadcast is appealing to all our viewers, and by installing loudness control we can ease the pain of having to adjust the volume between broadcasters or channel content. The D*AP8 processors give us a regulated audio signal, not only within each channel’s content but also between channels.’

Al Jazeera’s head of transmission,

Imad Ninaah, noted that the Jünger Audio systems were chosen for their audio quality and ease of use. ‘If you add licences, a 1U unit can deliver a range of features that negate the need for many different units,’ he said. ‘We have installed Level Magic, Dolby and Loudness licences – all of which are features that work for us.’

www.jungeraudio.com

Joe Chidiac

Base Dubai managing partner Evgeny Kuzin

Base Dubai is the latest venture from Bulldozer Group and accomodates 2,000 people

Ibrahim Alawin and Imad Naef Ninaah with Junger Audio units

ShowMatch™ DeltaQ™ loudspeakers provide better coverage for outstanding vocal clarity.

With DeltaQ technology, new ShowMatch array loudspeakers more precisely direct sound to the audience in both installed and portable applications. Each array module offers field-changeable waveguides that can vary coverage and even create asymmetrical patterns. The result is unmatched sound quality and vocal clarity for every seat in the house.

Learn more at SHOWMATCH.BOSE.COM

SOUNDBITES

LAWO BRINGS ADM UP-TO-DATE

UAE: Abu Dhabi Media (ADM) recently updated the central audio router and control/ monitoring system in the master control room at its studios. The government-owned broadcaster opted for a Lawo Nova73HD hybrid MADI and Ravenna/AES67 router with a VSM (Virtual Studio Manager) control and monitoring system to ensure that it would integrate with existing equipment via MADI and AES, as well as new IP-based Lawo mixing consoles in the studios with Ravenna.

The VSM software manages

Gearhouse delivers for Nickfest

as our house lights and it worked perfectly. Martin Vipers and Robe Pointes were also used to deliver great textures and beam work, both used to this type of show, but seeing the kids excitement was rewarding on all levels, and I felt like a kid again, wanting to get involved.’

‘This project took over 90 hours to build amongst 60 crew members, so it was an epic achievement,’ concluded Gearhouse project manager Lefa Tsiane. ‘On this event, all hands were on deck; team effort and skill came into play and the job went off very successfully. It’s on events like this – where all parties put their expertise and minds together – that we can create and accomplish a complete solution for the organisers/promoters. From hard work and perseverance come positive results and happy clients.’

overall control and monitoring for both baseband and IPbased installations at ADM. The Nova73HD, meanwhile, provides 8,192 inputs and outputs for Ravenna, AES3, MADI and SDH/ STM-1 interfaces, as well as Lawo’s Star² technology for redundancy.

The Lawo IP mixing consoles come in the form of three 16-fader Sapphire compact radio broadcast consoles, each of which includes VisTool screenbuilding software and Ember+ control protocol.

www.lawo.com

AMATE GETS PIXELATED

SOUTH AFRICA: Gearhouse

Group handled all of the technical requirements as the second edition of Nickfest hit Johannesburg’s TicketPro Dome. Mushroom Productions and Nickelodeon teamed up with Glen21 Entertainment and Kinder Joy to stage the two-day extravaganza.

The design included a central multi-layered projection structure simulating a slime tank which was the focal point of the event. The tank comprised four full round screens and the same number of half-moon screens, mobile trussing clad with LED strips as well as circular trussing covered with white stretch fabric from Showtex which was lit from the inside.

FOH A/V operator, Tyrone Dobbin from Gearhouse Splitbeam, managed the A/V content for the event making use of a Christie Spyder X20 video processor to handle two Dataton Watchout servers, all projection and

LED outputs and a TX camera feed input on HD/SDI. The projection screens on the central structure were used to display the ‘workings’ of the slime tank and required a Watchout programming server to handle the layering.

‘We used the Watchout primarily for its ease of programming, “cues on will” on multiple auxiliary timelines and its easy use of layering,’ explained Mr Dobbin. ‘I needed to apply a pre-made “circular bubbles” mask over the content to match the projection surface shape and used the SDI inputs on our Datapath input cards in the Watchout servers so that I could automate camera PIPs. I also created “Build” and “Dump” playback timelines using ROE LED visual strips slime.’

The audio side saw Gearhouse deploy an L-Acoustics solution. ‘We had six hangs of four Kudo, weighing 392kg, which were secured through

a stable rigging installation,’ said senior sound engineer, Kgashane Malatji. ‘Sound-wise, we had to take the noise factor of an audience of boisterous kids into account and allow ourselves extra levels to play with on show day. Thanks to really good team communication throughout, the rehearsals went off without a hitch and when we saw the characters onstage and the excitement from the kids, how could you not smile and be proud?’

Robert Grobler looked after the lighting design, ensuring that the renders by technical designer, Tim Dunn, translated through to the actual show. ‘One of the key elements we had to keep in mind was that, as a children’s show, it had to look “funky” but also be safe for the children at all times. So, from a lighting point of view we used LED units to give us rich colour everywhere as well a safe working light. We used 30 Phillips Nitros

Boracay gets an AVL refresh

CYPRUS: A cocktail of Amate Audio loudspeaker solutions provide reinforcement at the Nicosia. The venue stages both DJ sets and live concerts.

Amate’s JK12 point source systems are installed as satellites throughout the venue. These are complemented by Key12 speakers that have been around the club. The systems were supplied by the Spanish manufacturer’s Cypriot distributor, AA Model Power.

www.amateaudio.com

UAE: Boracay club in Deira’s Asiana Hotel has recently video and lighting upgrade. The venue has been treated to an

and lasers topped off with an L-Acoustics sound system.

Freelance sound engineer and integrator, Jun Bleza, was tasked with the design and installation of the sound system. ‘The club is quite spacious with good acoustics,’ stated Mr Bleza. ‘In my opinion there was no better option for the club than to acquire an L-Acoustics solution.’ In turn he contacted Gareth Armstrong from the French manufacturer’s local partner, Delta

AV Solutions, to provide him with what he describes as ‘an old but still reliable dV-Dosc system’. The solution comprises six

dVSubs per side providing low end.

Power is courtesy of Lab.gruppen

www.gearhouse.co.za

XTA’s DP226. Completing the audio system is a Yamaha LS9 mixing desk.

The visual side of the project sees MediaMatrix-controlled LED walls while the lighting sees 40 7R moving head beams alongside LED PARs and the aforementioned lasers. An Avolites Titan lighting controller completes the solution. ‘The sound is awesome, the owner is very happy,’ concluded Mr Bleza. ‘It’s got great reviews from its clients, bands, DJs and artists and Asiana Hotel CEO Mr Gene has described it as “the best sounding club in Dubai now”.’

www.boracayclub.com

dV-Dosc tops per side with four

Reinier Roberts, one of the rigging team, was also the volunteer for the test ‘slime dumps’

Lawo’s VisTool screen-building software

Cabsat moves to January

UAE: Cabsat has announced a major shift in its dates for the 2018 edition of the broadcast show. The event will now take place two months earlier than previous iterations, running from, January 14 – 16 at the Dubai World Trade Centre’s new Za’abeel Halls 1 to 6.

According to a statement from the organiser, the move is due to ‘timing shows and the Holy Month of Ramadan moving forward in the calendar in the coming years’. The positive side of the date shift is it will move Cabsat away from NAB. And as the organiser recognised, shifting the dates to after the US show would clash directly with Ramadan. However, this move does take it into direct competition with other international audio shows, such as NAMM which takes place a week

Levels puts Loca in the picture

later in California, British broadcast event BVE at the start of February, and ISE which is attracting a greater number of broadcast manufacturers and their customer base and opens its doors in Amsterdam just over a fortnight after Cabsat’s close. Of course, the show does have a history of clashing with international events. It is regularly the case that exhibitors ship their stands straight from BVE to Cabsat and perhaps most tellingly, in 2014, there was a direct clash with Pro Light + Sound in Frankfurt. On that occasion the audience was different enough that there was only a minimal impact people chose to split their time between the two events. Perhaps more concerning though is its proximity to other local events. Security show Intersec, which attracts

manufacturers and integrators active in the broadcast sector, takes closes. While InfoComm MEA, which draws a large number of the same local distributors to exhibit, closes

As the close proximity of Pro Light + Sound Middle East and InfoComm MEA last year proved, Dubai’s audio industry does not respond well to similar events taking place within weeks of each other. As the longest standing broadcast tradeshow in the Middle East, Cabsat can proudly audience than the other regional audio-related events and is in a strong position. How this date change will affect it and the other events around it will be a source of interest.

www.cabsat.com

Trio Elektronik upgrades Moss Club

TURKEY: Trio Elektronik has equipped the recently expanded Moss Club in Bodrum with a new sound solution comprising Martin Audio and BSS solutions. The club’s capacity has increased to accommodate 3,000 people and the existing sound system was no longer

The installation took only four days to complete and consisted of Martin Audio speakers and BSS processors across both the main club room and the after party area. Serving the main room are eight Martin Audio Blackline H3H+ three-way loudspeakers and 10 X12s with eight WS218X sub-bass units and a CDD Live point source speaker. These are powered by four MA5.2K, two

programmable controller.

A similar setup was installed in the after party room with Trio Elektronik supplying four Blackline X15 and six X12 enclosures with three WS218X units and a CDD Live cabinet.

UAE: Levels was responsible for the installation and integration of the audio, video and control systems at Loca’s latest venue in the Galleria Mall on Al Maryah Island, Abu Dhabi. The main challenge for the installation, as with the other Loca project the company has worked on, came from the complexity of the bar/restaurant’s video system.

‘Their requirement was to broadcast multiple sports events simultaneously in their venues,’ explained Hassan Alwan, managing partner at Levels. ‘However, the video system in place in their Dubai locations did not provide them with a simple and seamless method for doing so at the click of a button. We incorporated the use of Atlona’s AT-UHD-PRO3-88M video matrix switcher which allowed the

client to route video from any video source to any video screen in less than a second. This was backed up by Marshall Electronics V-R35P monitors which eliminated the need for the client to cross-check

the correct video feed was being broadcast.’

Having proven that this video system could work at Loca’s Dubai location, Levels installed the same solution for the new build Abu Dhabi venue with the addition of an NEC M403H projector. In terms of the audio solution, 50 Turbosound TCI Series speakers and subwoofers have been installed around the venue. These are controlled by a BSS Soundweb London while a Pioneer DM900 mixer and CDJ2000 Nexus II

players provide the DJ setup. The installation saw only minor deviations from Levels’ original design due to changes in ceiling layout.

According to Mr Alwan, it is the repeat business nature of this project that says the most about the work done by Levels.

‘We helped Loca manage the maintenance of their existing venue in Dubai, so when the time came to open up Loca in Abu Dhabi, they naturally came to us for assistance,’ he reasoned. ‘Based on the evidence of repeat business, which for us is more important than

we know that the client is happy with the end result.’

www.levelsav.com

The BSS solutions delivered include a Blu-100 12x8 signal processor with digital audio bus, a Blu-Bob1 output expander and a Blu-10

MA3.0 and MA5.0Q amps, for which the systems integrator provided two of each. A Blu-100 and Blu-10 handle the processing and provide control. Trio Elektronik also installed six JBL Control 226C/T ceiling speakers with two Crown XLS 2500 corridors and bathrooms. ‘The owners of the club requested a true British club sound and that is why we offered Martin speakers,’ explained Seda Varon from Trio Elektronik. ‘Everything went smoothly and the client is happy with the results.’

www.triohome.com.tr

Trio Elektronik installed the new system at the expanded Moss Club

Atlona equipment was key to the success of the project

TURKEY: Istanbul-based rental company Staras has expanded its inventory with a large investment in L-Acoustics equipment. The sale was made through the manufacturer’s local distributor, Elit Light/Sound Technologies, and comprised 24 K2, 16 KS28, four LA RAK II with LA12X amps, eight Arcs II, four SB28 and six X15HiQ cabinets.

Elit has been in discussions with Staras about purchasing a large tour system for a number of years. While some of the French manufacturer’s earlier products had not been right for Staras’ needs, K2 proved to be the correct solution. ‘K2 has been designed for the kind of large tours and events that Staras works with in Turkey,’ said Elit’s Emre Defne. ‘At the same time, it’s lightweight and versatile which makes K2 a very useful tool.’

While the rental house is yet to use its K2 system on a gig, it has already put the Arcs II cabinets through their paces on the recent Serdar Ortaç and

ME

MIDDLE EAST: Sennheiser

Middle East has announced 20% year-on-year growth for its B2B and prosumer segments in its Q1 improvement down to ‘an increase demand for feature-rich, costeffective solutions and renewed investment in large projects within the region’.

Duman concerts. ‘They are very happy, they knew that they needed to make this purchase as their old systems did not give them a differentiator over their competitors,’ reasoned Mr Defne.

‘With this purchase, everybody in the Turkish market is talking about Staras and because every rider comes with L-Acoustics systems at the top, they have found a solution to supply those productions.’

Mr Defne also believes the sale will provide more business for the distributor. ‘Champions League companies like Staras have more potential to use our products on their tours and events. And other rental companies follow what the big companies are doing. As people hear about this sale they are calling us for quotations for their companies. It has made a very big noise in the market and we feel that it will lead to other sales.’

www.elit-tr.com

www.staras.com.tr

‘It’s no secret that 2016 was a challenging year for business in the Gulf region, but we are a little more optimistic this year, especially here in the UAE and in the verticals of broadcast, corporate A/V and education,’ said Mig Cardamone, director of sales and marketing at Sennheiser Middle East. ‘An important takeaway is that even

in challenging times, businesses must continue to invest in the region to ensure local relevance and to your customers. Last year, we stuck to our plan for the Middle East by expanding our team, conducting several roadshows and training events and participating at industry trade shows. As a result, as soon as market conditions improve, we are well positioned to capitalise on new opportunities.’

The manufacturer has also seen recent success with some highin Muscat increased its inventory of Sennheiser wireless microphones by adding 24 channels of Digital 9000. This adds to the 16 channels of the EM 1046 wireless microphone

system, that are already in use at the venue. Also in the Sultanate, Petroleum Development Oman (PDO) took delivery of 45 channels of the EW500-965 G3. Meanwhile, Abu Dhabi-based broadcaster, Live Digital 9000 for its studios, following an on-site demonstration against competitive offerings.

www.sennheiser.com

evaluation to ensure components

embedded in the product. The manufacturer has designed bespoke software to monitor and control this process, and to track each component.

subjected to functionality, reliability and safety testing with all mechanical and aesthetic elements doublechecked by a quality inspector. Automatic frequency response, polarity, Rubb & Buzz and distortion tests are carried out using custom

WORLD: Next-proaudio has implemented a new quality control programme at its factory, which sees inspections and structured testing carried out at each stage of

the production line. This has been applied to reduce the common fails

Incoming materials and parts are subjected to thorough tests and

test is conducted by an audio made by the quality inspection manager.

www.next-proaudio.com

Staras’ Sinan Orscelik with Elit’s Emre Defne

Mig Cardamone, director of sales and marketing at Sennheiser Middle East

SD7 on tour with Blue Man Group

SOUTH AFRICA: Blue Man Group recently toured in South Africa for and performing the 200th show of their world tour at The Teatro at Montecasino in Johannesburg. The shows were a homecoming for South African sound engineer Christo Davis, who has been working with Blue Man Group as head of audio for more than a year, mixing each performance using a DiGiCo SD7. He is joined by deputy sound engineer

Extron working with LG Business Solutions

WORLD: Extron Electronics is working in collaboration with the American branch of LG Electronics Business Solutions to develop and certify control drivers for LG’s commercial displays. This that enable the integration of LG displays with Extron A/V control systems.

Isobel Rush.

‘I did a show with them in Australia about four years ago and I just hit it off with the sound designer,’ recalled Mr Davis. ‘We have similar philosophies and approaches on how we like to do things and he’d been trying to get me back on the road ever since. Last year it all lined up and here I am.’

Dutch rental company Ampco Flashlight Group supplied the SD7 that travels to each venue with Mr

‘This new project with LG Business Solutions will enable us to provide our dealers with integrating A/V systems with maximum performance and reliability,’ explained Art Garcia, VP business development at Extron.

‘Working with Extron gives LG the opportunity to expand the choices integrators have for controlling and monitoring LG displays,’ said Clark Brown, VP digital signage, LG Electronics. ‘Extron’s control platform is a robust control exceptional ease of operation, complementing LG’s advanced display technologies.’

www.extron.com

www.lg.com/global/business

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.

Davis and Blue Man Group. ‘I’ve been using the SD7 for the past three years and I love it,’ Mr Davis said. ‘It’s very intuitive and even if you are new to the console, it around it. Back in the day, we used to tour with racks and racks of outboard gear. Now you show up with your console and that’s pretty much all you need.’

www.digico.biz

Christo Davis, head of audio for the Blue Man Group World Tour and deputy sound engineer, Isobel Rush

Showtech delivers at Bahrain F1

BAHRAIN: Showtech Productions Bahrain deployed an L-Acoustics solution to cover the concerts at the recent Gulf Air Bahrain Grand Prix. The main challenge for the team came from covering the wide audience area at the Bahrain International Circuit.

Kiran Tauro, technical director of Front of House Productions Dubai, was hired by Showtech as head of audio for the gig. ‘This year the biggest challenge was covering a space which was almost 70m wide,’ he recalled. ‘To do this we added was very happy with the coverage received. We had just about enough boxes to cover the outer areas, any more than that next year and we will need to buy a few more!’

The overall solution comprised main hangs of 16 K2 per side with

per side above a further eight K2 cabinets. Additional reinforcement came via a six cabinet centre cluster of Kara enclosures with a further

the setup were eight SB28 subs per side in a cardioid setup with a further 16 SB28 forming the centre sub arc. The system was powered by chained for system control at FOH.

‘I was really happy with the overall coverage. Andrea Taglia who came in from Italy on behalf of L-Acoustics really had planned the system to its full potential making sure we covered all dead spots,’ said Mr Tauro. ‘Brad Divens FOH for Enrique really loved the system and was really happy with the result of his mix.’

Away from the L-Acoustics side, Avid desks provided the necessary

FOH while a Venue S6L was used for monitors. Completing the audio line up were 24 channels of Shure

UR4D+, 14 channels of Shure

PSM 1000 IEM, four channels of Sennheiser 3000 series wireless microphones, a variety of mics from Shure, Sennheiser and Neumann, and a pair of 48-channel Klotz Multilink analogue splitters.

Rohde & Schwarz acquires Motama Turkey Jockey’s Club bets on Allen & Heath

WORLD: Rohde & Schwarz has acquired Motama as it looks to expand the product offering of its subsidiary GMIT in live online content distribution. Motama specialises in products relating to professional transmission via unmanaged IP networks and its RelayCaster protocol, which minimises packet losses to enable the quality-of-service conditions required for interruption-free transmissions, has driven the acquisition.

Motama’s products, including RelayCaster, are available as independent offerings from GMIT. Motama technology will also be integrated into the Rohde & Schwarz broadcast and media portfolio to

create new cloud and software solutions. While joining the Rohde & Schwarz global sales network, Motama solutions will also remain available via its existing channels.

‘RelayCaster technology represents a major expansion of our broadcast and media division’s current portfolio

transmission, and will impact future applications,’ explained Hannes Strobel, VP monitoring and headend at Rohde & Schwarz and managing director of GMIT. ‘This gives us the

in a highly promising market.’

www.gmit-gmbh.de www.motama.com

www.rohde-schwarz.com

Mipro wins second consecutive Red Dot

WORLD: For the second year in a row, Mipro has received Red Dot Awards. In 2016, the honour was earned for the design of its MA708 portable wireless PA system, while this year the Taiwanese manufacturer has been presented with two; one for the MA-808 wireless PA, the other for its ST-24 wireless saxophone set. Red Dot Awards are given for the design of products voted on by a

panel of 39 experts gathered from around the world to judge entries over the course of several days in Essen, Germany. The MA-808 integrates wireless microphones, speakers, a CD/USB player and a Bluetooth interface for wireless music streaming into a single compact form factor. The ST-24, meanwhile, integrates a microphone with a wireless transmitter, allowing saxophonists

TURKEY: Turkey Jockey’s Club breeding and racing organisation, founded and endorsed by the Ministry of Agriculture. TJK operates its own television channel and recently invested in a new audio

system as part of its digital upgrade. The sound solution is designed around an Allen & Heath dLive system comprising an S7000 Surface with a DM48 MixRack.

The DM48 is equipped with a Dante network card and a pair of DX32

‘All the shows went on very smoothly, from Dmitri Vegas and Like Mike on day one to Enrique Iglesias and Steve Aoki on day two,’ concluded Mr Tauro. ‘I think with what we had in terms of gear, artists, management, time and a great team from Showtech we really pulled off a great show.’

www.facebook.com/showtechbahrain

www.frontofhouseme.com

expander racks for AES inputs and outputs. In addition, two GLD-80 mixers were installed with AB168 racks in TJK’s smaller studios. These are also Dante enabled to allow integration with the main audio system.

‘We really needed to upgrade our current analogue mixing desk to improve total system latency, network audio options and expandable I/O options,’ recalled Nizamettin Korkmaz, sound director at TJK. ‘All the station’s sound engineers are very comfortable using the Allen & Heath mixers during live broadcasts and for daily recordings, such as talk shows. The complicated audio routing and monitoring requirements of the studios are easily handled by the systems.’

www.allen-heath.com

www.tjk.org

to move freely around the stage.

‘Red Dot winners have recognised that good design and economic success go hand in hand,’ said Red Dot Award CEO and founder Dr Peter Zec. ‘The award by the Red Dot jury documents their high design quality and is indicative of their successful design.’

www.mipro.com.tw www.red-dot.org

The width of the venue provided the main challenge

Showtech Productions Bahrain supplied the concerts

TJK’s new dLive setup

Mipro has won two new Red Dot Awards

GSL hosts an open house for Martin

UAE: GSL Professional recently of Martin Professional Lighting products, having acquired the rights to represent Martin and AMX, clients.

of design and application catalogues.

an opportunity to introduce to our the GCC to the Martin products

Micr.Pluto experiments with iD14

SOUTH AFRICA: Tshego Nyatlo is a professional visual artist and across South Africa. To keep his interface.

and AMX controls for the GCC

www.gslprofessional.com

www.audient.com

PTO equips Shahrekord’s cultural centre eclipse spotlights Bieber

UAE: eclipse Staging Services

The 1,200-seat auditorium

IRAN:

of auditoria at the Shahrekord and Bakhtiari Province. The 2 venue is part of a local conference halls, a digital centre, people respectively. In the larger of

PTO installed sound, lighting and visual solutions

Claypaky Sharpys.

freelancer Cory FitzGerald and

www.pto-co.com

top lighting designer. Everything highlighted eclipse as one of the regional leaders in delivering

www.eclipse.ae

On the visual side, a Panasonic

Martin Open House served to introduce GSL as the brand’s new distributor

Tshego Nyatlo

SOUNDBITES

YELLOWTEC BECOMES A LIVEWIRE PARTNER

Bose takes ShowMatch to Qatar

WORLD: Yellowtec is the latest while Yellowtec manufactures is essential when it comes to a question for us to become in order to meet the increasing www.telosalliance.com www.yellowtec.com

SIMON KING LIGHTS LA TRAVIATA IN JOBURG

SOUTH AFRICA: When Joburg Ballet brought its production of La Traviata King was brought in to control of the in-house Robe Robin 800s and MMX Spots, programming

QATAR: Bose has presented its ShowMatch Delta Q array speaker to Qatar’s pro audio community for the more than 100 systems integrators, a global series of launches for ShowMatch and the country was targeted for this due to its

‘As a business region, Qatar is a focus market for us in the Middle rate,’ explained Nittin Dargan, systems integrators like to challenge makes it a great place to introduce theme parks and arenas continue

to grow in the region, presenting a differentiation for ShowMatch

Beirut’s new temple

LEBANON: Beirut’s Gärten club has opened for its summer season with a new concept based around a rehas also necessitated an update to outdoor club change from a dome structure to an illuminated pyramid, to the technology by his partner Ali Saleh, Mr Saliba turned to Madrix and its ability to control each pixel of

to sound quality, the area where Historically, many loudspeakers

we accomplished is keeping that

‘Another big differentiator in sound quality is the ability to custom

the audience listening area,’ he we get out of ShowMatch is another not off-the-shelf transducers, but amazing outputs, perhaps not seen pro.bose.com

Cinnafilm acquires RadiantGrid from Wohler

WORLD:

RadiantGrid intelligent media agreement results in the integration of RadiantGrid’s intellectual property, products and support

to dress the set, as side lights and for little effects,’ Mr King used for soft gobo lighting and He continued by praising the works for me – it’s like my other www.dwrdistribution.co.za www.malighting.com www.robe.cz

Saliba simply describes it as ‘out of

On the audio side, the structural change led to an upgrade in its decided to remain with the British manufacturer but now has a main

the sound inside the temple and added an incredible energy to it,’ said Ralph Choueiri, managing partner

www.audiotecgroup.com www.prolites.com

RadiantGrid software platform as the processing framework for

initial transition period, ensuring minimal impact to ongoing

closely with Wohler for many years as a worldwide distributor with Wohler and the integral use its RadiantGrid platform made it acquire RadiantGrid and market it

Wohler to concentrate on building next generation hardware and software tools within the signal

customer support and product said Wohler president and CEO www.cinnafilm.com www.wohler.com

The Bose launch in Qatar

Simon King (photos courtesy Lauge Sorensen)

Gärten’s Funktion One system has been upgraded

Madrix controls the new lighting system

Procom takes K-array into the desert Protec adds a Notch to its belt

UAE: Dubai-based developer Meraas has recently opened the doors to its latest venture: Qasr Al Sultan. The venue is situated in the desert of Jebel Ali and has been installed with a K-array audio solution at the developer’s request, which was supplied by Procom Middle East.

Qasr Al Sultan offers dining with a food bazaar serving cuisine from all corners of Arabia, features a traditional noria water wheel and Arabian majlis, includes a falcon display, children’s playground, shisha lounge and dabke dancing, and incorporates a museum and a traditional souk.

comprises K-array’s KRX802 line

KX12 line array elements and two double KMT218 18-inch subwoofers.

covering the audience area and rigged to a pair of Eurotruss ST

the venue is outside, so to provide optimal, horizontal sound coverage; these systems are set to Wide Mode. Meanwhile, at the front of the stage, four Anakonda KAN200+ speakers

Numerous live performances were staged on the opening night, band The Chehade Brothers. To

provide further reinforcement, K-array KH3 sound systems were specially deployed on the night.

In addition to the sound solutions, Procom Middle East also supplied the venue with its lighting equipment.

‘entertainment lights’. An Avolites Titan Mobile console controls the lighting solutions. For trussing, in addition to the Eurotruss ST Towers, Procom Middle East also delivered TT and XT aluminum trusses.

‘The cutting-edge technology, impeccable sound and sleek design of the speakers made K-array the Procom CEO, Raja Harfouche. www.k-array.com www.procom-me.com

SMPTE reports on Time Code

WORLD: SMPTE has issued a pair of reports covering how the SMPTE Time Code standard is used and needs to evolve to serve as a more useful tool in media production and the usage of Time Code within the the Time Code Summit Report and the Material eXchange Format (MXF) Time Code Study Report

‘SMPTE Time Code is used and postproduction,’ said SMPTE

director of engineering and Code. The results of the Time Code Summit Report provide a better

understanding of the drawbacks in its current use, in and beyond the conventional audio/video community, and of the direction we need to take in developing a new standard. At the same time, we’re using the MXF Time Code Report to clarify Time Code in MXF and how facilities can work with

The reports are both available at www.SMPTE.org/committee-reports.

www.smpte.org

UAE: Protec recently invested in 10bit Technologies’ real-time visual effects software, Notch, company in the Middle East to acquire the solution. The A/V production company used the Middle East Event Show as a platform to introduce the solution to the region.

The Middle East Event Awards also form part of the Middle East Event Show and this year’s edition saw Protec receive three awards. The Protec team won in the categories of Best Use of Event Technology – Product for its use of robotics, Best Event Video Solution for the opening ceremony of the Dubai Water

Notch is described by 10bit enables you to create interactive real-time environment’. It is designed to enable users to create interactive content and live video creating, simulating, rendering, compositing and editing with ease. Protec reportedly chose to add the software solution to its inventory due to a increased demand for such a real-time visual effects solution and plans to integrate servers.

Canal, and Best Temporary Venue opening ceremony.

‘These awards are a testament to their conviction and belief in their own creative strengths and in trusting us to partner them to create great events in this ever growing region,’ said Protec CEO are humbled by the awards we have won and would like to thank our clients for their continued faith in our abilities.’

www.notch.one www.productiontec.com

K-array KH3 systems were brought in for the opening night

Three of the six KX12 line array elements on one of the Eurotruss towers

Protec introduced Notch at the Middle East Event Show

K-Krew and BYCE run R3lay

KENYA: Kubamba Radio’s K-Krew relied upon Lawo’s R3lay virtual radio mixer to broadcast coverage of its 12th annual Totally Sold Out concert. This allowed the radio station, working in collaboration with BYCE Broadcast, to remotely broadcast the event without the need to transport mics and headsets and a mixer to the site or an OB van.

More than 10,000 attended the concert in Nairobi’s Kenyatta International Convention Centre,

Festival Sound builds on DiGiCo line-up

SOUTH AFRICA: Festival Sound, a long-time user of DiGiCo consoles

2012, has increased its inventory of the British manufacturer’s desks. The rental company has purchased an SD11 from distributor DWR Distribution, as well as its second

while Kubamba Radio and BYCE assembled a remote kit using R3lay VRX8 virtual radio mixer software. Benson Nyagah, CEO of BYCE, operated the virtual setup during the concert, which provided 17 hours of radio programming. The R3lay mixer was fed by a combination of stage mics and inputs, a DJ feed and playout software installed on a laptop that allowed music to be played out through the PA system serving the live crowd during breaks.

makes it possible for Festival consoles for FOH and monitor land,’ explained Jaco Beaukes from DWR Distribution. ‘This was a big step them as they often supply gear for shows that demand high channel count consoles.’

Festival Sound has gone on to add a Waves Server-One and a Waves

The rental company’s owner, Petru for the recent Gospel Spectacular show at the Joburg Theatre.

www.digico.biz

www.dwrdistribution.co.za

www.festivalsound.co.za

to the radio station via G4 codecs for on-air transmission.

to use R3lay again for future broadcasts – perhaps even in the main studio,’ said Mr Nyagah. ‘At this important show using the R3lay kit provided the best quality we’ve ever had.’

www.bycegroup.co.ke

www.lawo.com

Petru Palmer with Festival Sound’s newest SD9

Showtech steps up

UAE: Described as ‘the largest interactive gathering in MENA’, the annual Step Conference was recently held at the Dubai International Marine Club. The event is attended by thousands of investors, entrepreneurs and others from the worlds of technology and entertainment, as well as music industry representatives including producers, record label executives and artists. Step Music partners with Anghami to stage the conference, which sees discussion of trends, challenges and the future of the music industry in the region in addition to live performances.

To facilitate this, the organisers brought in Showtech to supply the audio, visual and lighting technical solutions.

The setup was split into four areas:

two separate conference zones, an outdoor performance stage and another indoors. Delving deep into its inventory, Showtech supplied a wide range of JBL systems, basing the main PA solutions in each area on VTX series cabinets. These were

Amate’s TPD

powers

Liege Café Bar

CYPRUS: Liege Café Bar in Nicosia has been open for six months, serving a wide range of beers as

Providing the sound – whether it’s BGM or reinforcing the DJ – is an Amate Audio solution comprising Key8 eight-inch loudspeakers and Key15W 15-inch subwoofers. The sound system is powered and processed entirely by the Spanish

Triphonic technology, combining

active signal processing with an additional channel for subwoofers.

Amate’s distribution partner in Cyprus, AA Model Power, provided the solutions. ‘Nothing compares

Veterans Research

supplemented by Eon speakers on the conference stage and in the exhibition, workshop and food truck areas. Power was courtesy of Crown handled by Soundcraft and Yamaha desks. For speech capture, Shure

ULX-D wireless microphone systems were deployed throughout. The exhibition and food truck areas also received signal from Pioneer CDJ2000 Nexus multiplayers.

LED screens were provided alongside Dataton Watchout servers, Analog Way switchers and Nova Star processors with Lenovo laptops

For lighting, a mixture of Claypaky, Robe, Showlyte, Philips and ETC different areas, controlled by Avolites dimmers and MA Lighting grandMA2 consoles, accompanied by Antari HZ 400 hazers. Prolyte trussing and Chain Master hoists were also installed by the rental company, while a Motorola DP4400 Series portable radio system was provided to enable communication.

www.showtechme.com

NRTV upgrades with Panasonic

with TPD, as a powerful, space saving, simple to install and operate integrated solution,’ said Joan Amate, VP and CTO at the manufacturer.

www.amateaudio.com

Site benefits from BXB

IRAN: A BXB UFO-2000 conference system has been installed at the Veterans Medical Science and Engineering Research Site (VMSERS) in Tehran. The project was handled by the manufacturer’s local partner, PTO Light & Sound System.

The system installed at VMSERS comprises a UFO-2500 main control unit with a UFO-2011 chairman unit and 24 UFO-2012 delegate mics. Additionally, UFO-2070 control software and a BXB-C901 camera control unit have been installed. The

solution is completed with CNB PTZ cameras, Edirol speakers and an Alto sound mixer.

‘Veterans Medical Science and Engineering Research Site chose the UFO-2000 conference

system after experiencing it in our other installations for different organisations in Tehran,’ said PTO project manager, Mohammadreza Rahbari. ‘They started to use the system the day after the installation and have been using it for three to four hours per day. Fortunately the customer was completely

the ergonomic design of the UFO conference system.’

www.bxb.tw

www.pto-co.com

UZBEKISTAN: A major broadcast infrastructure upgrade is underway at the National Television and Radio Company of Uzbekistan (NRTV). The project includes the replacement of SD technology with IP-TV systems at the state broadcaster’s headquarters in Tashkent, as well as updating the equipment across its 12 regional studios. German systems integrator BFE Studio and Medien Systeme has been contracted as the prime contractor and is deploying a vast array of Panasonic cameras. A total of 42 Panasonic AKUC3000 4K studio cameras

have been supplied across NRTV’s broadcasting centre, regional studios and OB vehicles along with 15 PX270 handheld ENG cameras. Additionally, 34 Panasonic AK-HRP1000 remote control panels are to be installed with eight AJ-PX5000 cameras in two new studios that are being built. CFE has also delivered 34 AG-PX380GF and 25 AG-PX800GF P2HD cameras, which will be used outside the studio, gathering footage on location.

www.bfe.tv business.panasonic.eu

UC focus for Yamaha

Revolabs subsidiary.

WORLD: Yamaha has underlined communications (UC) by creating a dedicated department for this market. The new department will call on the experience of Yamaha’s

‘Yamaha has more than 10 years of experience within the UC industry from working with our enterprise customers in Japan,’ said Hirofumi senior general manager of audio business division and general manager of UC Department, Yamaha. ‘Our latest organisational change and solutions developments are natural steps toward cultivating those relationships worldwide. With music and sound technology as one of our core strengths and an across the company, we’re wellpositioned to expand our presence in this global market segment with our current and future product suite.’

www.yamaha.com

The Yamaha CS-700 collaboration system for huddle rooms

Showtech supplied the technical setup for this year’s Step Conference

The conference covers the state of the regional music industry

The event includes live performances from regional artists

Sound for The Flip Side

UAE:

Dubai-based independent record store to put its new sound system to the test. The solution was designed and installed by Levels and features equipment from Martin Audio, Crown, Electro-Voice and Audio-Technica.

Levels became involved in the project due to its existing relationship with the owner of The Flip Side, Shadi Megallaa. ‘The record shop needed a main audio and DSP, turntables for the listening stations, and a mobile projector and screen for screening documentaries,’ recalled Hassan Alwan, managing partner at Levels.

To meet the audio portion of this need, Levels supplied a pair of Martin Audio Blackline F15 tops alongside a Blackline S218 sub. Monitoring in the booth is catered to by a pair of the manufacturer’s Blackline F10 cabinets.

Power for the system is courtesy of a single Crown XTi 2002 and two XTi 4002

Electro-Voice DC One DSP. Completing the solution are four Audio-Technica AT LP120 turntables.

With the store now open, Mr Alwan is very pleased with how the solution sounds. ‘We couldn’t be happier. The record shop is an important addition to the musical landscape of Dubai. We are continuing to support The Flip Side with the management of its audiovisual requirements, and will be supplying them with turntables and other DJ/music gear to offer to its customers. And we will of course be there as customers to pick up records!’

www.flipsidedxb.com

www.levelsav.com

Grass Valley at Jordan Media City

JORDAN: Jordan Media City (JMC) recently upgraded the equipment in its studios, having signed a new tenancy contract with a local television channel. JMC turned to Grass Valley as it required systems that would not only bring the facility up-to-date, but would also serve the broadcaster moving in for several years.

‘We knew that in order to create the best environment for the channel, and future tenants, we had to embrace new solutions and technology but in a smart way with innovations that will stand the test of time,’ said Faris Abdullah, chief proved themselves a market leader in technology while also showing the ability to seamlessly integrate their complete solution. Lasting innovation were looking for in a partner for this project.’

Broadcast & Studio Solutions assisted Grass Valley with the installation, which

comprised LDX 80 Series cameras, two-M/E and three-M/E Karrera K-Frame switchers, an NVision 8144 router and Kaleido multiviewers. ‘After an extensive, competitive technical evaluation, JMC chose Grass Valley,’ recalled Hany Bartella, managing director, Middle East, Grass Valley. ‘We know that adopting any new technology or product comes with trepidation, but we’re thrilled JMC recognised the value culture.’

www.bss-me.com

www.grassvalley.com

www.jordanmediacity.com

Shadi Megallaa DJing during the official opening

The Flip Side has opened on Alserkal Avenue in Dubai

JMC was equipped with LDX 80 Series cameras

A letter from America

How could VR change the concert experience? Dan Daley explores a future that is virtually here

LIVE MUSIC IS A COMMUNAL EXPERIENCE,

shared by concertgoers and performers alike. Virtual reality – VR – is by nature an almost solitary event, experienced by the person wearing the goggles. Both, however, are immersive experiences, and that shared nature makes them ripe for a media mashup.

A performance by Courtney Barnett at the Nelsonville Music Festival last summer reveals how VR can put the viewer on stage with manipulated remotely and available discretely, with each viewer able to control perspective according to his or her tastes. Once you grab hold of the camera from your computer you instantly realise the potential here: you are on stage, you can move between Barnett and her bass player, and you can spin around and see individuals in the audience as they see them. You can look up and explore the lighting grid or look to stage left and see the monitor mixer in action. The novelty doesn’t wear off; instead,

you wish there were a few more cameras. Soon, there will be.

This is VR’s promise: to upend the traditional relationship between performer and audience. An experience will not replace being there, but it will offer an alternative presence that can exist alongside an actual physical presence in a venue, while also offering those that couldn’t make it, in the words of a 1970s Bell Telephone commercial, ‘the next best thing to being there.’

I spoke recently with Josh Antonuccio, the director of the Immersive Media Initiative at Ohio University’s Scripps College of Communication School of Media Arts and Studies, where he’s helping nudge VR into actual reality. And an important part of that is how it will interact with live music. Right now, there’s live music the way we currently experience it. A long time ago, I pronounced in print that the word ‘analogue’ came along to describe the world before digital, simply

A letter from Europe

An innovative and award-winning usenation of Phil Ward

I THOUGHT IT WAS A JOKE, AT FIRST.

The organisation Visit Faroe Islands – can we carry on assuming we know what that means? – has announced that it was a winner during the prestigious World Media Awards at London’s trendy Ham Yard Hotel, in the Travel and Tourism category. And in truth, it’s a great idea: by a clever deployment of Google’s 360° cameras, they literally put the Faroe Islands on the map – Google Street Maps, to be precise – thereby increasing hugely the all-round electronic media presence and investment value of the islands, its people, its culture and, most of all, its sheep.

and you can see why I thought someone was getting up to some postmodern internet fake news, to achieve comprehensive photography of the islands’ rugged terrain, Google’s local agent and friends literally attached the 360 cameras to selected specimens from various

wandering herds of the native Faroese breed, presumably singled out for their trustworthiness in possession of, let’s face it, some pretty expensive hardware. There are four 360° cameras that work with the Street View app: Ricoh’s Theta S; Samsung’s Gear 360; the Iris360 by NCTech and the LG 360CAM – none of which should be put in the hands of the more irresponsible farm animal, like a dog or a duck.

You need Wi-Fi, too, to connect with the app – so some more prehistoric creatures must have passed this way before now putting up wireless routers, perhaps deer whose antlers would come in handy in areas of poor reception. Anyway, as a result you can now see a lot more of the Faroe Islands online than before, and nothing speaks more eloquently of our headlong plunge into 360° media than this slightly crazy – but, it turns out, real – project.

because the world before we had digital didn’t need a name — like snow for Eskimos, it just was. We’re going to need to make that same lexicographical leap for live music once VR gets proper hold of it.

Mr Antonuccio’s programme is pretty evolved. In 2016, the university’s Innovation Strategy programme awarded US$878,000 to the Immersive Media Initiative to develop a new curriculum and hands-on research and creative projects for Ohio University students to gain the experiences they need Media Initiative team has used that to build an infrastructure around VR, and just in time, too, perhaps. It’s clear that live music is that manufactures the hits that drive people to spend US$300 for a stadium ticket is declining, and the legacy acts that still make up about half of the top-10 tours each year are slowly but surely heading into very comfortable

assisted-living facilities. VR offers touring music the ability to vastly broaden the places a show can go. Concert developers (is that getting there and being there even more compelling than it is today. And that may well extend to bringing the VR experience itself into the live experience, in the form of VR’s cousin, Augmented Reality (AR), which can be used to annotate live shows, presenting the viewer with lyrics or alternative views, a kind of live director’s cut.

No one knows what the future will look like exactly, but it’s going to include VR. How that technology gets applied to live music is being worked out as we speak, although that work is being largely carried out by academics and important, just another content element in their view of the universe. It’s time for those help steer where that future is headed.

naturally, so is the 360° audio to go with it. Based at East London agency Visualise, sound designer Henrik Opperman likes to go where even sheep would fear to tread to record 3D

developed in the 1970s but really coming into their own now that audio and its production paraphernalia have been digitised. He’s been villages, on Caribbean islands and the back streets of Bermondsey in the search for authentic audio that can then be fed from his Sennheiser Ambeo VR mic into any one of a number of compatible DAWs from Pro Tools to Pyramix. Various new software packages already exist to transform individual signals, stems or sub-groups into the ingredients for binaural soundtracks that will work on conventional headphones and speaker

Other facilities in the UK capital have evolved from traditional audio postproduction

studios into 360° specialists, such as Bamsound VR – once known as simply ‘Bamsound’, and adding the rather telling ‘VR’ appendix in a strategic repositioning of the business. This is likely to happen across the range of media sound industries, simply to video gaming or similarly exciting virtual reality escapes such as grazing cattle in Scandinavia. 360° audio and video will be everything 2D media is now: corporate, TV and radio broadcast, cinema, documentary, medical… you name it.

It doesn’t stop there either, on the Faroe Islands. More human volunteers have been shooting 360° from their skateboards, in a kayak, on horseback and on bicycle, while local farmer and friend of Google’s ‘Trentor’

video – has got a 360° camera attached to his wheelbarrow, oh yes he has. No stone unturned for Google, it seems.

It’s not about your Vorsprung Durch Technik

For the sixth year running, Gearhouse South Africa took on the technical responsibilities for Parklife in Johannesburg. James Ling

TAKING PLACE ON A TYPICAL crisp winter’s day in Marks Park in the Johannesburg suburb of Emmarentia, Parklife Festival pulled in the crowds by promising a combination of gourmet food with performances from local and international musicians. Ensuring

the organiser didn’t disappoint from a technical point of view was Gearhouse South Africa, which was working on the festival for the sixth year running.

For the 2017 event, various companies from the Gearhouse group took on the responsibility for

the full technical package across each of the festival’s stages. ‘We supplied the complete audio solution for all three stages,’ says Gearhouse project manager Colin Kent. ‘In addition to this were two 12m dome roofs and an 8m dome roof for the DJ stage from Gearhouse In2Structures.

Don’t get left behind Order your Stealth Core 2 software now from

Gearhouse supplied Parklife 2017 (Photo by Alex Forbes)

Gearhouse deployed L-Acoustics speakers for the main PA on each of the stages

It was a simple lighting rig for all three stages. LEDVision supplied the LED screen on the back wall of the main stage and LED wrapped around the C stage - DJ booth. Finally there were two 200kva generators to supply power.’

On the audio side of the project, Gearhouse turned to its L-Acoustics inventory to provide the main PA for all three stages. The main Park stage solution comprised eight V-Dosc for the main hangs with the same number of SB28 subs providing low dV-Dosc while eight Kudo provided Arcs II supplemented by four SB18 subs. Completing the line-up were 12 HiQ wedges and a dVSub drum subwoofer. Power for the system was processing from a Lake LM44 and consoles at both FOH and monitors. Festival goers could be forgiven a sense of déjà vu when heading to the Nux stage, as this exactly mirrored the Park stage. The only difference from an audio perspective came with the boards selected at FOH and monitors. For this stage Gearhouse deployed Yamaha M7CL 48-channel desks at both locations.

As the smallest stage at Parklife, The Arch stage called on a smaller solution for its DJ performances. While L-Acoustics again formed the main bulk of the system, this stage also provided Gearhouse with the opportunity to go deeper into its inventory and deploy speakers from other manufacturers. The main PA was formed of eight Kudo cabinets with the low frequencies delivered by the same number of SB118 subs. Power was courtesy of six house deployed six Clair Brothers 12AM wedges while monitoring in the DJ booth was courtesy of two JBL PRX515 with low frequencies via a pair of PRX518 DJ subs.

When it came to the lighting, the timing of the event meant that it only required a modest solution. ‘The festival runs from 10:00 to 19:00 so only the last hour or so is in darkness,’ explains Mr Kent. ‘We used a very basic, mainly generic rig with just a couple of movers on the

main stage.’

As such, the Park stage was equipped with eight bars of six PARs, four ACL bars and eight of Robe’s Robin 300 spots. On the Nux this was scaled down to just the four bars of PARs while The Arch was equipped with 12 Tri-Tours LED PARs.

While the lighting was on a smaller scale, the same could not be said for the LED screens that bedecked two of the three stages. Gearhouse Group company LEDVision called on its roster of Lighthouse DuoLED 18 panels to form the screens for the Park stage and The Arch. For the Park stage, 45 panels were used in an

The Arch, 10 panels were stacked

2.88m x 1.15m screen on the DJ booth. Providing control of the video content at FOH for both stages was a MacBook running Resolume.

and the solutions for each stage designed, the real challenge for the Gearhouse team came from ensuring that everything would be delivered on schedule. This challenge was

made easier by the decision from the organiser to move the festival from its normal April slot to June. ‘When it rains, staging at this outdoor venue can be a real issue because of the mud,’ furthers Mr Kent. ‘That is probably why the organiser, Breakout Management, scheduled it for midwinter when the rain is less likely.’ Of course, this also presents a challenge in its own right. ‘It was a typical crisp winter’s day and the weather was cold,’ recalls the project manager. ‘Extremely low

temperatures on the load in and out made work slower than normal. Our solution was to just keep going and not stop. We prepare for a winter concert in pretty much the same way as we would for one in the summer, but obviously warm clothing and a hot meal are important.’

Despite the weather, Mr Kent is of the Gearhouse team. ‘The results were fantastic. The crew all put on their A game and enjoyed every moment.’

More importantly though, he believes the client and the acts performing on all three stages were also impressed with the service delivered by the rental company.

‘Breakout Management are very pleased with the technical support we gave them and the international bands were also happy with our delivery,’ states Mr Kent. Having been involved with the festival for six years, Gearhouse is clearly doing something right. And for the project manager it

is a simple equation. ‘We stick to the budget and deliver a great service.’

While delivering the full technical requirements across all three stages may sound like a complete package, there is still more that Gearhouse can do to win business from the Parklife Festival. Johannesburg is one of three legs of the event, with Cape Town and Durban also hosting and equipment based in each of these cities, the rental house will hope it can expand its remit with the organiser.

Having been so deeply involved with the successful delivery of Parklife in Johannesburg for yet another year, there is every reason for the company to feel it is in the right position to service each iteration of the event in 2018.

www.breakout.co.za

www.gearhouse.co.za

www.in2structures.co.za

www.ledvision.co.za

www.parklifefestival.co.za

Gearhouse project manager Colin Kent

Only a simple lighting setup was required for the daytime festival (Photo courtesy of Breakout Management)

In2Structures supplied the domed roofs (Photo by Alex Forbes)

The launch pad

Middle

HELD OVER TWO CONSECUTIVE evenings at Dubai’s Versace hotel, Barco presented Excite Middle East as a platform for product demonstrations and networking. The manufacturer had separated out the two evening sessions to individually target the events community and systems integrators, but also to provide a more relaxed atmosphere for discussions.

‘Barco cares about its partners, customers and resellers, we wanted to make it a networking opportunity rather than a product demonstration and presentations only. We wanted to talk to everyone, and make sure that they all can make it to the event. That’s why we chose to make it over two days, after work,’ said Serge Plasch, Barco vice president of EMEA entertainment. ‘They

can enjoy technology discussions with their peers in the market in a friendly environment. This is why we booked Versace for our event. For Barco, Dubai is the destination to be in, to celebrate years of success with our local colleagues and partners in the region. And to make sure that we showcase the latest Barco technology in the entertainment industry.’

With the launch of its UDX 4K laser phosphor projectors forming the highlight of the event, it was understandably the technology that came to the forefront. ‘As part of our international tour to launch UDX – Barco’s 4K Laser phosphor projector for venues and entertainment – Dubai was for sure

Rijsbrack, vice president of events

at Barco. ‘Excite Middle East was the right opportunity to launch our UDX projector in the Middle East and showcase different products and projectors, like the F-series, that are perfect for events and simulations and the R series bendable LED walls. We are hosting Excite Middle East for two days, not only to promote our products but to touch base with our partners from three installation and rentals. We need to make sure that all our partners are well informed about the latest technologies, and Dubai is the right place to be in.’ While it was a Barco-organised event, one of the particularly notable

elements of Excite was that the Belgian manufacturer had chosen a few complementary partners to join it in Dubai, namely d3 Technologies, EventAgrate and Da-lite. While the event did not resemble a tradeshow

their own fair share of new products to ensure there was plenty for attendees to see. Da-lite took the opportunity to highlight its FullVision HD Progressive and Fast-Fold NXT solutions while d3 showcased its new GX Range.

‘The Excite event was a fantastic opportunity for us to meet with our Dubai community and to launch the new GX Range to the Middle East,’

sales manager EMEA for d3. ‘We’d like to say a massive thank you to Barco for organising such a great event and to all those who could

join us. We’re looking forward to the future of d3 in the region.’

The success of events such as Excite are always judged on the people they attract. And in this case Barco certainly seemed pleased.

‘We’re very happy indeed with the audience we attracted,’ said Mr Rijsbrack. ‘The questions they asked and the interest they showed makes us go back to Belgium with more ideas and pushes us to create more. The Middle East and Dubai in particular represents the future. We’re very happy to be here and we will go back with great feedback and look forward to the next event.’

manufacturer is certainly happy with the way that things went. ‘We make sure to wow our audience and this is exactly what we did,’ said Mr Plasch. ‘Just like the name of the event suggests, everyone was excited to see the latest trends in the projection world. The audience in Dubai is very smart, they seek quality, the latest technology and good service. Excite Middle East managed to tick all three boxes, and the visitors were sent back home with more inspiring ideas and looking forward to seeing what is next.’

If this is the impression the manufacturer returned to Kortrijk with, you can be certain that more events like Excite will follow.

www.barco.com

Barco, alongside some select partners, chose to host its own event for the

East launch of its UDX 4K laser phosphor projectors. Damian Calderbank reports

The event was designed for networking as well as product launches

Carl Rijsbrack, vice president of events at Barco

Serge Plasch, Barco vice president of EMEA entertainment

SEMINAR DIARY

18–19 JULY

BSS Training Dubai, UAE

GSL Professional is hosting a pair of BSS training days. These will cover the introductory BSS Soundweb and the more advanced BSS201 course on day two.

www.gslprofessional.com

25–27 JULY

Extron Control Professional Johannesburg, South Africa

This course has been designed to prepare individuals to successfully deploy and maintain customised A/V control systems that are built around IP Link Pro Series and TouchLink Pro Series products.

www.extron.com

28 JULY

Kramer Best Practices Johannesburg, South Africa

This hands-on SAQAV course from Electrosonic is targeted at A/V integrators and designers and aims to provide an understanding of commissioning an A/V system in general.

www.electrosonic.co.za

2–3 AUGUST

Smart Graphics Training

Jeddah, Saudi Arabia

This course aims to increase an user interface that is intuitive to use. It will challenge trainees to use smart objects in new and creative ways and hone SIMPL Windows programming skills.

www.crestron.eu

29–31 AUGUST

MA Intermediate Training Durban, South Africa

This DWR-hosted intermediate training session for MA Lighting will cover effects, layout and bitmap effects, presets and options, cue list management, tracking, macros, worlds and user

www.dwrdistribution.co.za

Behind the Scenes hosts Sound Academy

UAE: Behind the Scenes and Sennheiser Middle East recently workshop on the audio aspects of cinematography. The event featured in-depth presentations and demonstrations of the latest audio solutions as well as intensive handson sessions.

‘In recent years, the UAE’s production industry has seen has become a sought-after

productions,’ said Mohammad Salam, managing director at Behind

the region and Behind the Scenes is committed to cultivating local talent.

The collaboration and support of brands such as Sennheiser helps us deliver world-class knowledge and bring attendees up-to-speed with the very latest technologies and standards in the market.’

The event itself was led by Sennheiser’s John McGregor. He presented detailed overviews on the manufacturer’s latest audio solutions, including the Digital 9000, AVX, EK 6042 and MKH 8000 shotgun microphones, Esfera Surround Sound microphone and the MKE 2 Elements microphone for GoPro Hero 4. The workshop’s practical sessions covered subjects such as how to choose the

requirement, how to set up and work with wireless microphones and how to work with recorded sounds in postproduction.

In addition to Mr McGregor’s sessions, Simon Charles of Carbide Sound and Anas Al Said Yahya of Digital Sound, who both attended knowledge of location sound recording with attendees during the practical portion.

conducted and helped provide an accurate overview of the current trends in the audio industry,’ said attendee Sivaprasad Nandakumar, assistant professor, School of Media and Communication at Manipal University. ‘Without understating the

importance of classroom knowledge, there is a lot to gain from on-thehelped condense an impressive volume of information into practical easy-to-follow sessions. While the products highlighted were from Sennheiser, John made it a point to describe them in a neutral manner, focusing instead on the features we should look out for when evaluating an audio solution. The cost of professional production equipment can be quite daunting so making the right choices is often critical and I believe my students and I are now better prepared.’

The free event was one of 24 that Behind the Scenes plans to host in 2017. It received the patronage of partner organisers Dubai Studio City, Dubai Culture, DIFF and technology sponsor Vitec. Throughout the rest of the year the production house will host workshops that dive into all aspects of cinematography, including lighting, screenwriting, lenses, photography and make-up. ‘Our goal is to raise the standard of the industry as a whole so we are better prepared to capitalise on the opportunities made possible through the support and patronage of the government of the UAE,’ concluded Mr Salam.

www.sennheiser.com

AES and NAMM partner for education

WORLD: The Audio Engineering Society (AES) has formed a collaborative alliance with NAMM to integrate pro audio training covering topics such as live sound, performance audio and recording technology at The NAMM Show in 2018. The society’s technical sessions, speaker presentations, hands-on workshops, tutorials and

networking events on the American west coast will form a part of The NAMM Show.

‘Audio is everywhere, and it’s a Case, president of AES. ‘When it comes to professional audio, to know more and sound better. We

Shidco hosts Powersoft training

IRAN: Shidco recently hosted two days of Powersoft training in Tehran. The event covered both the technical and the commercial aspects of the Italian manufacturer’s technology.

120 sound engineers from across Iran descend on the Ferdowsi International Grand Hotel.

Powersoft’s Karl Kahlau presented an overview of the manufacturer’s products as well as discussing the technology behind them. The second day had more of a technical

focus and was aimed at high-level sound engineers and the Shidco technical team. This session was led

new AES educational opportunities, audition new audio products and grow their professional networks to include audio pros through AES at NAMM.’

NAMM president and CEO Joe Lamond stated that The NAMM Show brings together the global music and sound industries to offer

a unique platform for business and learning. ‘Through our collaboration with AES, we are now further united in a shared vision of showcasing and educational offerings for the good of the entire industry,’ he said.

www.aes.org

www.namm.org

by Powersoft engineers Luca Gianni and Luca Estefani and covered the manufacturer’s Armonia suite and a more in-depth look at its technology.

‘Based on positive feedback we received during the seminar, we have made a great step to enhance

our sales network and meet our market demands as well,’ concluded Shidco CEO, Mehdi Moghadas Darab.

www.powersoft-audio.com www.shidco.com

The event included theory and hands-on sessions

John McGregor led the training

Hamidreza Darab, Mehdi Moghadas Darab, Luca Gianni, Karl Kahlau, Mahmoud Darab and Mohammad Darab

The Powersoft training session

Shure MEA takes training to the region

& Marr, was next on the agenda for Shure MEA. With stops in Johannesburg, Durban and Cape Town, around 145 participants went through the manufacturer’s Wireless Mastered Digital course.

Prolab talks stage technology

MEA: Shure MEA has highlighted its commitment to customer education with a series of training sessions around the region. The manufacturer has used the events to deliver training to its customers from the UAE, Lebanon, South Africa and Egypt.

NMK Academy and took place in Dubai’s Hard Rock Café. This event saw around 90 people learn about the manufacturer’s wireless technology as well as its A/V conferencing equipment. This was followed by a seminar for the Lebanese systems integration community held at the Key Hotel Beirut in partnership with Amac. The crowd of 25 was treated to a session on networked audio conferencing. A three city tour of South Africa organised with its distributor, Wild

the Egyptian audio industry in partnership with Audio Technology. The event attracted 25 attendees and covered A/V conferencing solutions and the fundamentals of wired and wireless.

UAE: Prolab recently hosted a seminar exploring Movecat’s motorised hoists. The event took place at the distributor’s DIP warehouse and was led by the manufacturer’s Oliver Nachbauer. The workshop attracted 35 attendees from staging and rigging rental companies. It was delivered through a mixture of presentations

and hands-on workshops. The event covered Movecat’s full product portfolio. It also looked at unique features for the D1 and D8Plus hoists and their controls as well as grid, weight, rigging staff and creative unique special effects inspired by kinetic movements with Movecat’s SIL3 system.

www.prolabllc.com

Biamp training heads online

‘The MEASA region provides huge potential for manufacturers to showcase their solutions and be part of the region’s economic developments,’ said Shure MEA director of sales and marketing, Chicco Hiranandani. ‘That said, manufacturers have a greater opportunity to contribute to the knowledge base of the market and identify new product offerings for long term growth.’

The manufacturer is planning to host more sessions in the region in the near future including training in Kenya and another South African tour.

www.shuremea.com

WORLD: Biamp has made its individual product platform allow users and systems integrators to learn at their own convenience. The on-demand platform delivers self-guided sessions and tests throughout the programme, covering topics and products such as TesiraForté, Tesira Server, TesiraLux, Vocia, Audia and VoIP

training is free. The TesiraForté and Vocia courses are also available in Spanish.

completely available in an online, on-demand environment puts the power of education at your and at your own pace,’ said Kiley Henner, director of customer

A-T teaches basic audio techniques for video

WORLD: Audio-Technica has launched a series of 13 tutorial videos via its YouTube channel, dubbed Basic Audio Techniques for Video. The series covers various aspects of sound capture for video production and broadcast applications, including how to use a boompole, selecting the right shotgun and handheld mics, and

miking the inside of a car.

‘A-T has been actively involved in the video production community for many years,’ said Audio-Technica marketing director Gary Boss. As video content demands continue to increase, we felt it was time to produce a series of instructional videos that can educate the new video creator, but also have enough

experience at Biamp. ‘Whether you want to grow your knowledge, gain InfoComm International renewal units or just refresh with some tips and tricks, Biamp leverages the expertise of our application engineers to create training sessions that fully support A/V professionals.’

www.biamp.com/training-online

depth to appeal to the seasoned veteran.’

www.audio-technica.com

The Movecat training session

TID under new ownership DISTRIBUTION

SOUTH AFRICA: TID, the South African distributor for beyerdynamic, Biamp and Bose among others, has been acquired by a consortium consisting of directors Michael Van Rensburg and Tiaan Hoogstad, as well as Joseph Milan and Spencer Thomas of Alpha Technologies. The new ownership agreement will combine the resources of both TID and Alpha Technologies, allowing for cross-selling opportunities. Both companies will continue to trade as separate brands.

‘Joseph Milan, the owner of Alpha Technologies, started looking to grow the audio side of Alpha Technologies, while TID was searching for an investor to grow the company,’ recalled

Mr Hoogstad, sales and marketing director at TID. ‘Both parties were aiming for a partnership. TID will remain a separate company, trading as TID SA (Pty) Ltd, and will

Alpha Technologies, from its repair division to after sales support,

training facility and its full client base.’

Each company will continue to offer its existing product catalogue and support services, with pricing remaining unaffected. TID and Alpha Technologies will work together with the brands they each

DTS returns to VV & Sons

product success. Core, Katana and Nick 1401 are becoming very popular in many places around the world and now we’ve added the new 2017 Brick. Also our Scena LED series is very popular, especially in Europe. I am sure we will have the same success in the Middle East.’

‘By adding DTS Lighting to our product line will get an additional strength allowing us to provide a complete solution to our clients,’ added PV Davis, pro divisional manager at VV & Sons. ‘We have known each other for quite a long of their new product line and its reliability.’

represent to complement each other and provide new solutions for dealers and end users.

Mr Milan will serve as managing director, while Mr Hoogstad takes on the responsibilities of marketing director and head of Western Cape operations. Mr Van Rensburg is technical director and Mr Thomas is the operations director. The responsibilities for all four directors encompass both TID and Alpha Technologies.

‘For the brands that TID represents we have more potential to provide customers with a full solution from video and audio integration to the designing of a full system, all under one roof,’ said Mr Hoogstad.

centres and sales force will offer a class-leading service to the South African market.’

www.alpha-tec.co.za www.tid-sa.com

Successful start for Avid’s Lebanese distributor

and reliability,’ said Fadi Haddad, managing partner at Litewaves. ‘Exceptional demand for the venue S6L among leading live sound engineers makes it a very attractive investment for live sound companies.’

MIDDLE EAST: VV & Sons has become the exclusive distributor for DTS Lighting for the UAE, Oman, Qatar and Bahrain. The new agreement marks the return of the Italian manufacturer to the Dubaibased distributor’s roster.

‘We have worked in the past with them already and we know their professionality,’ explained Paolo Albani, sales and marketing director at DTS. ‘We are facing a very positive period at DTS. We are growing sales due to last year’s

The new distributor will aim to architectural lighting solutions and rental companies as well as installations in school auditoriums and clubs.

www.dts-lighting.it www.vvsons.com

LEBANON: Avid recently appointed Litewaves as its Lebanese live sound and pro audio distribution partner. Following the appointment, Avid is reporting increased sales of its Venue S6L to live sound companies throughout the country.

The Beirut-based distributor has been active in Lebanon’s live sound market for more than 25 years. Litewaves also serves as a rental company and has added an S6L, as well as S3L and SC-48 consoles to its inventory.

‘We’ve worked with Avid Venue live sound systems for many years based on their reputation among our customers for excellent sound

Barco targets Turkey’s healthcare sector

TURKEY: Barco has partnered with Turkish provider of cloudbased medical imaging solutions, Limantepe Technology & Life. The agreement will result in the combination of Barco’s medical display solutions with Limantepe’s cloud-based health information systems to offer an all-in-one solution to imaging centres and small hospitals.

Limantepe was founded in 2015 by a pair of healthcare and technology

experts to provide a platform for managing medical images online. Within two years, its imageRAD medical image archiving and sharing system is in use at imaging centres and hospitals across Turkey. As part of the partnership, Limantepe will offer Barco’s portfolio of healthcare

systems, including mammography, diagnostic and clinical review displays, MXRT graphics controllers and MediCal QAWeb software.

‘I’ve worked closely with Barco

in the past,’ explained Limantepe owner Haluk Celikel. ‘Our unique cloud-based platform will be more powerful when bundled with Barco’s medical display solutions. We free our customers from IT issues, allowing them to focus on delivering the best possible clinical outcomes with the best possible imaging tools.’

Piet Candeel, senior VP sales EMEA at Barco described the partnership as a unique one that will help Barco to expand its footprint in Turkey.

Blue Sound Company was one of Litewaves and has put its new desk to use for several events, including a concert at the presidential palace in Baabda. ‘We chose the Venue S6L based on its superb sound quality, any plug-ins directly in the console,’ explained Shady Saad, partner and general manager of Blue Sound Company. ‘It’s also a very familiar system for live and studio sound engineers, enabling them to jump right onto the system.’

www.avid.com

www.bluesoundsal.com

www.litewaves.me

‘Providing accurate images and raising productivity is key in today’s pressured healthcare market, where budgets are tight,’ he said. ‘That’s exactly what our medical display systems do. Limantepe’s cloudbased solution has exactly the same objective: boosting convenience and productivity while increasing return on investment.’

www.barco.com

www.limantepe.com

Silvano Latteo, PV Davis and Paolo Albani

Digital Projection opens Dubai experience centre

UAE: Digital Projection has opened an experience centre in Dubai Silicon Oasis, which enables visitors

Astro heads to Kazakhstan

KAZAKHSTAN/KYGYRYZSTAN:

Tekhnologiyi Zvuka (STZ) will cover Kazakhstan and Kyrgyzstan as part of its new distribution agreement with Astro Spatial Audio. Under the exclusive agreement, STZ will bring the full suite of ASA technologies to the territory.

manufacturer’s projectors. The experience centre was formally

The British company’s decision to open the facility was reportedly driven by the growth potential in the GCC region.

‘Being able to demonstrate proof of concept displays – such as 3D wall mapping and holographic projection, is a prominent feature of our new facility,’ explained Chris Axford, international sales and marketing director at Digital Projection. ‘Together with our partners, we will also be running workshops and training sessions –not just about projectors, but also the market seeks.’

www.digitalprojection.com

Rodyan to assist Audio AG

SAUDI ARABIA: Audio AG, the global distributor for RME, appointed Rodyan as the local distribution partner for those brands in Saudi Arabia. Based in Riyadh, Rodyan represents a multitude of pro audio manufacturers and is a reseller for photographic equipment as well as serving as an events and production company.

According to STZ sales manager, Sergey Surov, the appointment will bring new possibilities to the markets of Kazakhstan, Kyrgyzstan and beyond. ‘ASA is a new, unique solution that is without any parallel in our region,’ he commented. ‘Its ability to be easily integrated into both new and existing venues is a major advantage. We believe that it will rapidly be considered an extremely interesting creative tool for a wide range of applications, so we are proud to represent the brand, and to bring it to as broad an audience as possible.’ ‘STZ has a great team and an impressive footprint in a number of our key sectors,’ added Astro Spatial Audio director Bjorn van Munster. ‘We are very enthusiastic about working together to grow awareness of Astro Spatial Audio in the months and years ahead.’

www.astroaudio.eu

The distribution agreement, which covers RME Pro and RME Premium products, will see Rodyan offer local sales and marketing services for the Audio AG brands it represents, in addition to providing customer support. ‘Our goal is to continuously improve our customers’ experience in every aspect,’ said Christian Latzelsberger, VP sales and director of business development at Audio AG. ‘Expanding our local network of sales and support personnel and being in close proximity to where our customers are is very important to us.’

www.audioag.com www.rodyan.com

3D wall mapping and holographic projection are demonstrated at the experience centre

APPOINTMENTS

Andrew Rodgers installed as department head

SOUTH AFRICA: Andrew Rodgers has joined DWR Distribution as head of its installation department, bringing aboard a wealth of experience in project management and maintenance contracts, as well as a vast array of technical skills. Having built a strong reputation in the industry, Mr Rodgers had previously worked alongside DWR founder Duncan Riley on numerous projects.

A UK-native, Mr Rodgers began his career in his home country in various maintenance and repair roles at several recording studios

Neets targets international growth with new hires

WORLD: Neets has hired Bo Jordansen as its new head of sales and Michael Rumph as product manager. The new additions arrive as part of the Danish pro audio manufacturer’s efforts to expand its international footprint. In the head of sales role, Mr Jordansen will be responsible for directing all sales and reseller relationships outside of the EU as the company looks to expand across the Middle East, Asia

He brings aboard experience as a sales director for several telecommunication companies. ‘With its user-friendly products, agile organisation and committed channel, Neets has a strong potential for international growth,’ said Mr Jordansen. ‘I’ve always been very passionate about building relationships with distributors and resellers, and the role as head of sales will allow me to do this on a global scale.’

Mr Rumph takes responsibility for leading iniatives to develop new products. He joins with more than 20 years of sales and systems design experience gained within the A/V sector.

before relocating to South Africa in 1990 where he initially took on a maintenance position at Sun City’s Superbowl. He has since worked at Prosound in electronics design and maintenance and as a freelance project manager in South an audio recording studio. Joining Tadco in 1996, Mr Rodgers worked his way up to the role of technical director before establishing his own company in 2009: Fifty South Systems Integrators.

‘Andi has been a wonderful friend for close to 20 years now,

James Field joins Pioneer Pro Audio

MEA: Pioneer Pro Audio has named James Field as a technical consultant in the Middle East and Africa. His primary role will be to provide technical and sales support to distributors, resellers and customers of the manufacturer’s products. As such, he will provide product training and demonstrations, as well as assisting integrators with system design and commissioning.

‘I’ve followed the development of Pioneer Pro Audio since the launch of the brand with the Gary Stewart GS-WAVE system – that was a big statement that they were serious about pro audio,’ said Mr Field. ‘The subsequent XY Series and partnership with Powersoft piqued my interest even more and closer inspection revealed these to be products of the very highest standard. I met Alex Barrand (manager, Pioneer Pro Audio) a few years ago in Ibiza and we hit it off

immediately. When this opportunity arose I jumped at the chance to get on board. Alex has a very hands-on role with systems integrators and resellers across Europe and this kind of direct access to the manufacturer has proved to be a very successful strategy. I am aiming to emulate that role by assisting with project design and commissioning, to maintain the standard of Pioneer Pro Audio installations at the highest level. This degree of manufacturer

in the product and integrators a very useful and unique resource to help them smoothly execute projects.’

The appointment came about as the manufacturer felt it was important to have ‘on the ground’ representation in the region who understands local culture and business practices. ‘James is a fantastic appointment,’ said Mark Drury, managing director at

where we often worked on the same projects,’ explained Mr Riley. ‘He is respected for his great workmanship and importantly for his humanity.

This has been a calculated decision as the installation department has been laden with installs,’he continued. ‘We feel that if the correct people are in place, we will have a successful installation at the end of the project, and a happy client. It’s a privilege to welcome Andi to the family.’

www.dwrdistribution.co.za

‘I believe I bring a strong understanding of what customers are looking for in A/V products, and I look forward to helping Neets continue to deliver products that meet and exceed customer expectations,’ Mr Rumph stated. Neets CEO Michael Jarl Christensen also commented on both appointments: ‘As head of sales, Bo Jordansen will be instrumental in supporting and developing our export markets in cooperation with our distributors outside the EU,’ he said. ‘And as product manager, Michael Rumph’s most important task will be to keep our focus on the needs of our users and customers in everything we do.’

www.neets.dk

Pioneer Pro Audio. ‘His technical background is of the highest calibre and his knowledge of the territory is an invaluable asset in developing our business in the region. We’ve invested heavily in our Dubai operations facility and assigned a large demo stock inventory – James is exactly the person to get the product seen and heard by local integrators and we have complete sales.’

www.pioneerproaudio.com

Clear-Com promotes product management veteran

WORLD: Clear-Com’s Simon Browne has been promoted to the role of vice president of product management. A 28-year veteran of the company, Mr Browne retains the responsibility for overseeing product brand development, lifecycle management and positioning for all of Clear-Com’s products that he held during his recent director of product management position, while adding Trilogy Communications products to his remit.

Mr Browne initially joined Drake Electronics in 1989 as a project manager before moving into a sales

and support management role. Following Clear-Com’s acquisition of Drake, he became senior product manager, looking after the Eclipse digital matrix product line, and was later promoted to director of product management.

‘Simon’s leadership has been a recent years, bringing stability and vision to our product development processes while pushing us forward,’ explained Clear-Com CEO Mitzi Dominguez.

www.clearcom.com

Bruce and Duncan Riley, Andrew Rodgers and Robert Izzett of DWR

Michael Rumph and Bo Jordansen

Simon Browne

James Field

WORLD: Richard Lough has been promoted from his role of chief to the position of chief operating part of the manufacturer’s global

‘In his new role, Rich will be operations of the business and execution of our strategic plans,’

Mr Lough described his members of the management focus on this exciting growth

Williams Sound CFO promoted to COO Projection veteran rejoins Christie

www.williamssound.com

Richard Lough

Wohler sets sights on Middle East and India

Dar as its new regional sales India as it aims to expand its

product lines, leading interactions with end users,

WORLD:

of product management,

with him to further expand our presence in India and the Middle

Bosch director takes over RTS and Telex product management

WORLD:

from his role as

management position at of brands, with a broad portfolio including pro audio solutions as well

all our brands and products but also www.rtsintercoms.com

‘Brian’s cinema pedigree is impeccable, since beginning in

beginnings of digital cinema were incubated, is a great technologies and solutions that www.christiedigital.com

A COAXIAL studio monitor, while not unknown, is fairly uncommon among the major speaker manufacturers. The applications like studios – a coaxial design where the tweeter is housed in the alignment issues that are common a wider listening area without suffering colouration. Manufacturing the Minimum

And is something that Genelec says has taken more than decade in its R&D department to perfect as the midrange and tweeter both share the compact magnet assembly.

‘The number of big ideas contained within these small monitors is truly remarkable,’ boasted managing director Siamäk Naghian. ‘The 8351 has already become the trusted standard for its neutrality

and its smooth frequency response both on- and off-axis. Now that same precision

The Ones family includes the larger, by two new smaller models, the 8331 and 8341. They all feature a dual-coincident

interesting in that it occupies almost the entire front of the enclosure, obscuring

for the 8331, and 110dB for the 8341. Frequency responses are 45Hz and 38Hz

a compact footprint, 299mm x 189mm x 212mm for the 8331 and 350mm x 237mm x 243mm for the 8341, and both incorporate three stages of Class-D

energy. The coaxial design also permits a

listening distance adds an extra 5dB to the potential SPL of each model.

less fatigue during long listening sessions. Like the 8351, the 8331 and 8341 can be adjustable IsoPod base for isolation. The short-term maximum output capacities are stated at 104dB (at 1m)

Finally, the Ones family can also be set up Monitoring solution, which permits up to 40 monitors and subwoofers per network to be automatically optimised for the surrounding

www.genelec.com

etherCON CAT6A

The Ones studio monitor family sees Genelec capitalising on its recent success with coaxial monitoring

When two become one

The HDL 30-A selects the best of both

the smaller HDL 20-A allowing it to be transported with up to four enclosures on its own dolly. One of the new features incorporated into the HDL 30-A is air absorption compensation allowing each cabinet to independently control the cluster size low frequency by up to 10dB in 1dB increments and

updated RDNet group interface (array group) can be shared with all the RCF RDNet controllable arrays that simplify system tuning.

The electroacoustic components of the bi-amped two-way design comprise dual 10-inch LF neodymium woofers and a 3-inch exit HF titanium compression driver married onto a symmetrical time coherent waveguide for constant horizontal coverage. Both sections are powered by a 1,100W RMS-

loudspeaker parameters can be managed courtesy of the internal DSP that includes HF projection correction and special presets for indoor and high curving situations.

voice coil and a 1,400W RMSbirch plywood cabinet is glued with water resistant adhesive ensuring weatherproof characteristics. Designed to be stackable and lightweight, the SUB 9004-A is equipped with pole receptacles both on the top and the side. A controlled input section includes selectable onboard presets with RDNet remote and powerCON connectors, whilst heat dissipation generated by the 4-inch voice coil is catered for by a ventilation system.

Also new is the HDL 6-A, designed for live sound reinforcement and installed applications. Powered by a 1,400W 2-channel Class-D

FiRPHASE algorithms, the cabinet incorporates two 6-inch woofers and a high-powered compression driver mounted on a 100° x 10° waveguide, delivering a maximum

SPL of 131dB and 48kHz, 32-bit processing.

Accompanying the HDL 6-A on the low end of the frequency range is the HDL 12-AS subwoofer. This compact unit houses a 12-inch woofer and a 1,400W Class-D

digital stereo crossover (DSP) with adjustable crossover frequency to connect the HDL 6-A line array module or a satellite.

Finally, RCF has further upgraded its ART 3, ART 7 and D-Line HD series by incorporating its FiRPHASE optimisation

ensure coherent audio distribution without phase distortion, minimising latencies to the system. The newly redesigned ART now bears a black square base plate in addition to a new grille shape and change of colour from grey to black.

www.rcf.it

Fisco for Disco and LF apps

THE IB 210 been developed by KME for extending the low frequencies driver arrangement, the ceiling or wall installed courtesy of the square dimensions.

FOLLOWING THE success of the HDL 20-A as a line array that allows quick set up and assembly, RCF has added the HDL 30-A to the family. The composite polypropylene cabinet shares the same features and rigging concept as the larger HDL 50-A model including transducers, waveguide design, mechanics and compact chassis shares the same dimensions, low weight mass and symmetrical acoustic design as

RDNet networked monitoring and control enables save and recall system presets, read out tilt angles of the individual modules, testing of individual components gain and delay adjustments and

for medium to high frequencies together with air compensation for long throw applications.

Designed to accompany the HDL 30-A cabinet, the SUB 9004-AS subwoofer incorporates a single 18-inch neodymium, hyper-vented, long-excursion woofer with a 4-inch

Bass for no space

A NEW line of compact subwoofers for both rental houses and integrators has been released by French manufacturer APG Audio that promises high low frequency reinforcement in applications where space is an issue. The SB Series comprises four models ranging in size from 10- to 18-inches.

According to the manufacturer they were all engineered using the same acoustic load, based on a variation of a band pass design to maximise performance – providing 300W for the 10-inch SB110, 600W for the 12-inch SB112, 1,000W for the 15-inch SB115-M2 and 1,400W for the 18-inch SB118. The smaller SB110 and SB112 enclosures host a ventilated ferrite cone driver

with a 3-inch voice coil, while the SB115-M2 and SB118 feature a neodymium driver.

Furthermore, the SB112 can be combined with MX and DX series speakers to form portable FOH systems for corporate events and other A/V applications, while the SB115-M2 can also be deployed for distributed audio in largescale installations. The slots in the top of the enclosure allow for coupling with APG’s DX12 and DX15 speakers to form compact

SB118 also complements DX and Uniline Compact systems, and can

www.apgaudio.com

a slim design as a result of the dual 10-inch woofers that employs a direct radiating 15-inch driver for which the grille is on the complete front side of the cabinet creating a tunnel has reportedly been synchronised to an absolute

Filling the void as a 5-inch two-way compact installation been designed to provide homogeneous tonal playback. Ensuring consistent dispersion, KME has created a special waveguide that can be rotated according to the application, allowing the cabinet to be either horizontally or vertically mounted. Complete with a range of installation accessories and M8 hanging points, the cabinet dimensions promote discreet integration.

Additionally, KME has developed the GB 218 dual 18-inch subwoofer as a bass array for its Galo G 10 line array system. Optimised to

is stated to offer precise bass response down to 25Hz and with very low frequency tuning. The manufacturer describes its cabinet’s audio impression as ‘voluminous but precise and responsive’. The GB 218 can be deployed either horizontally or vertically and incorporates handles, side edge protectors and stacking elements, whilst data for EASE Focus 3 software provides simulations.

www.kme-sound.com

The 15-inch SB115-M2

HDL 30-A

IB 210

SUB 9004-AS

Hello. We are the world’s most compact three-way studio monitors, and the

A pair of APS cabinets mounted above an APS-Sub

All performances great and small

JBL IS catering to both ends of the performance spectrum with its latest releases. On the one hand it is targeting large and medium-sized concerts with the VTX A12 while the needs of the smaller end are paramount to the Eon One Pro. Starting at the larger end of the market, VTX A12 is a dual 12-inch line array speaker that features new and proprietary transducer and high-frequency waveguide designs, innovations in the rigging and suspension hardware aspects of the cabinet. The new HF section features three drivers that combine the HF phasing-plug and waveguide into one part. According to the manufacturer, this yields better tolerances and increased sensitivity above 6kHz, while reducing distortion and overall weight. A newly designed Radiation Boundary Integrator (RBI) combines four 5-inch mid-frequency drivers into the high-frequency waveguide. The 12-inch woofer features a fourth-generation Differential Drive design, new dual Neo dual-coil magnet arrangement and a host

of proprietary JBL technologies for increased excursion, power handling and sensitivity.

Externally the full-face grille design helps it achieve an IP55 rating while its patented locking mechanism automatically locks the cabinet angles to the desired position. All VTX A12 accessories are designed to be lightweight, durable and sized truck dimensions. Staying with products for this scale of production, the manufacturer has also created the JBL Array Link app for iOS and Android and made updates

to its Performance Manager and Line Array Calculator software applications. The app enables systems engineers to see what their array size, weight, and interenclosure angles are. Additionally, phone can be shared instantly with other Array Link users.

JBL Performance Manager 2.4 provides complete support for the VTX A12 line array while also adding an array size compensation assist. Version 3 of Line Array Calculator has a redesigned UI, delivers precise acoustic

predictions for the response of VTX systems and offers updated mechanical reports for physical array predictions. In addition, the venue prediction window offers an unlimited number of planes, additional virtual measurement probes, as well as enhanced prediction tools to support frequency response averaging of multiple virtual measurements. Finally it also offers a subwoofer prediction mode.

At the other end of the performance scale, Eon One Pro is a rechargeable portable personal linear-array PA that offers a maximum SPL of 118dB (peak). The base unit is home to an unobstructed 8-inch basspatent-pending Directivity Control Geometry, which optimises the spacing and angles of the six twoinch high-frequency drivers.

Away from the speakers, the unit features a built-in 7-channel mixer with Hi-Z inputs and phantom power. The mixer features bass, treble and reverb controls. The unit also includes a pass-thru XLR connector for integrating additional units. Bluetooth audio streaming allows for playback of recorded music from smartphones or tablets. A USB charger connection provides power for phones and tablets when needed and the unit features an integrated tablet stand. The integrated accessory attachments allow users to add a camera or a future lighting element.

www.jblpro.com

The Eon One Pro’s integrated mixer

JBL’s VTX A12

FaitalPro drives portability

FAITALPRO IS targeting manufacturers of portable speakers with the pair of new compression drivers added to its HF range.

The ferrite magnet HF111 and neodymium HF142 have been designed with reduced dimensions and at a lower weight than their predecessors.

The HF111 is a medium-sized compression driver featuring a 37mm voice coil and 1-inch mouth. It has a domed diaphragm constructed from ketone polymer and offers deliberately balanced, controlled parameters so as to make the unit compatible with a wide range of applications. The manufacturer also claims an response of between 2kHz and

20kHz and 40W of applicable power, in addition to a maximum of 80W

for use in two-way systems with a horn compatible with its 1-inch throat, as well as in multi purpose systems with a 10-inch companion woofer. Its linear response and

suitable for smaller line arrays.

Suggested applications for the HF142 include use in large monitors, two-way systems, alongside a 1.4inch horn or large woofer, in a line

by a woofer or a midrange system of large dimensions. A large driver with a 65mm coil, ¼-inch throat and a magnetic circuit with a neodymium ring, it also has a ketone polymer membrane and possesses a 4-slot

HF111

phase plug. It’s capable of handling continuous power of 80W and a

18kHz.

range, the 12RS550 is a 12-inch woofer with ferrite magnet. It is aimed at those producing two- or three-way speakers for use in a

Eight times the compression

produce linear, smooth responses with low distortion and high

variety of applications, such as in

45Hz to 2,500Hz. It houses a 77mm voice coil and boasts a maximum power of 1,000W with 500W nominal. Then there’s the 10PR320 and 12PR320, 10- and 12-inch

woofers that mark an evolution of FaitalPro’s previous PR300 models. circuit, these are described as ideal for where ‘woofers are needed to beyond the standard products available’. Each includes a 65mm, 2.5-inch coil with a 600W maximum power by AES standards. In other news, improvements have to been made to ‘stabilise’ the dome titanium for the manufacturer’s HF drivers with 74mm voice coils. treatment on the outer diameter of the diaphragm suspension clamping. The result is said to be more stability and linearity in the response.

www.faitalpro.com

Beyma keeps cool under pressure

ITALIAN TRANSDUCER

manufacturer Lavoce has expanded its range of 1-inch exit compression drivers with six new polyester diaphragm models and two of the titanium diaphragm variety. Each model implements Finite Element Method

The 15W DF10.10LM and 25W DF10.14LM polyester diaphragm compression drivers are ferrite magnet solutions. Their diaphragms feature round CCA wire 1-inch and 1.4inch voice coils. Then there’s the DF10.14M, DN10.14M, DF10.17M and DN10.17M polyester diaphragm models with Edgewound CCA 1.4-inch and 1.7-inch voice coils with 25W, 25W, 55W and 50W power respectively. These feature ferrite and neodymium magnet designs.

As for the titanium diaphragm versions, the 60W DF10.17T

Dbox connects to Dante

NEXT-PROAUDIO HAS constructed the Dbox to serve as a bridge

Dante networks. With a 128mm it supports one RJ-45 Dante input and a pair of balanced XLR analogue outputs.

Dbox also serves as a plug-andplay solution for users looking to connect active speakers to a Dante network. This is achieved via two with the Next-proaudio DPA2000 of its active speakers. www.next-proaudio.com

and 55W DN10.17T include Edgewound CCA 1.7-inch voice coils and are of ferrite and neodymium magnet designs. On the lower end of the released the SAN214.5 21-inch neodymium magnet subwoofer. Recommended for single or dual 21-inch vented cabinets, the variants and makes use of a 4.5inch inside/outside four-layer high temperature CCAW voice coil, diecast aluminium basket, optimised cooling system, aluminium demodulation ring, double silicon spider and neodymium magnet motor design. Statistically, it

3,400W of programme power capability.

www.lavocespeakers.com

BEYMA’S 18LEX 1600ND low designed and optimised for direct radiation and band-pass subwoofers. Incorporating Malt Cross cooling system (MMSS)

cool the voice coil, the 18-inch addition produces a sensitivity

Rated with a power capacity of

MMSS technology. It comes with a three-inch copper voice coil, FEA-optimised ferrite magnetic circuit and a pressed steel frame. Weighing 8.7kg, the 600W AESrated model delivers a sensitivity

Again featuring MMSS technology, the manufacturer states its 15MC700 and 8MC300ND

1,600W AES and capable of to 35Hz, characteristics of the 18LEX 1600ND include a double silicon spider, exclusive neck coupling reinforcement (NCR), full waterproof cone treatment and an FEA-optimised neodymium magnetic circuit. Whilst reportedly exhibiting ultra-low air noise and woofer comes with a double silicone spider, 4-inch duo double layer in-out copper voice coil and an aluminium demodulating ring. Also designed for direct radiation subwoofer applications, the 18WRS600 is an 18-inch woofer whose optimised non-linear design once again incorporates

power compression losses offering features similar to larger sized coil and motor assemblies. Designed for LF and mid-bass applications, the 7.5kg 15MC700 15-inch woofer comes with a three-inch duo double layer in-out copper voice coil and an aluminium demodulating ring. It has a stated

Optimised for two- or three-way cabinets or line array systems, the 300W AES-rated 8-inch two-inch voice coil, neodymium magnetic circuit and waterproof cone that is capable of producing a

www.beyma.com

Dbox connected to the DPA2000 amplifier module of Next’s LAS118A active subwoofer

The DN10.17T is one of eight new compression drivers

The 18LEX 1600ND

SMALL VERSATILE LOUD

Active Line Array Series*

LA122A - Active Line Array Element

2220Wprg 2-Way amplification 135dB max SPL (Full-space)

LAs118A - Active Arrayable Subwoofer

2960Wprg amplification

138.5dB max SPL (Half-space)

* Networkable DSP, control software included

Two speakers in one

PERFORMING THE role of two speakers in one, Celestion has produced the Axi2050 wideband axiperiodic driver. Capable of operating within a frequency range of 300Hz to 20kHz without the need for a mid-band crossover, the Axi2050 has been designed to deliver a coherent signal and an extended frequency range, whilst enhancing clarity and speech intelligibility.

The Axi2050 incorporates a single, large diameter, circumferentially axiperiodic, annular titanium diaphragm. According to the British manufacturer, which celebrates its 90th anniversary this year, the breakthrough technology enables the device’s wideband output in addition to providing a number of other advantages. The Axi2050’s patented 175mm diameter diaphragm design consists of many

curved, axiperiodically symmetrical elements that reportedly add great strength to a very thin and light sheet of titanium. As a result, the shape of the mechanical vibration modes are tailored so they do not couple

CONFERENCE ROOM VIDEO IN ANY

with the acoustic modes, enabling the device to deliver a neutral performance by avoiding resonance peaks. Capable of reproducing frequencies down to 300Hz negating the need for a mid-band crossover,

the diaphragm’s large surface enables the generation of very high SPLs, even at low frequencies. The 50W RMS AES-rated driver comes with a two-inch exit throat and standard mounting.

Celestion has also added two models to its FTX series of common magnet motor coaxial loudspeakers with the development of the 10-inch FTX1025 and 15-inch FTX1530.

Aimed at making improvements in signal alignment and off-axis

offers a full frequency response in a single self-contained driver by concentrically aligning the low and high frequency drivers.

The common magnet motor assembly enables the voice coils and acoustic centres of the drivers to be brought very close together, thus boosting signal coherence and time alignment for a more natural sounding audio reproduction, states the manufacturer. The single magnet assembly is also described as offering a lighter and more compact advantage, promoting its use in applications where space is limited.

The FTX models feature a its Sound Castle soft clamping assembly reportedly reduces stress on the diaphragm. The HF and LF voice coils are edge wound using lightweight copper and copper clad aluminium with a close packing density. The addition of demodulation rings minimise the effects of power compression, whilst reducing harmonic and intermodulation.

www.celestion.com

FOLLOWING THE release of the C15 large format line array, Clair Brothers has unveiled two smaller models in the series.

The double 12-inch C12 and double 8-inch C8 cabinets are particularly suited for integration thanks to the inclusion of the manufacturer’s Clair True Fit technology horizontal waveguides, which are described as being ‘custom tailored for any venue’. This is accomplished through measuring the room’s attributes together with integrators and architects and then 3D optimising room. The custom waveguide is then machined using Baltic birch plywood by Clair Products, producing a bespoke cabinet. The

manufacturer promises maximum dispersion and minimal

Additionally, both cabinets can be ordered with a variety of horizontal waveguide patterns. Standard factory waveguides will be 90º and 120º, with a range between 60º and 140º also available.

The American loudspeaker manufacturer also unveiled another addition to the One Series recently. The 1.5AM+ is a self-powered version of the 1.5AM stage monitor that features a

to the 1AM+. It also allows users to power a passive 1.5AM stage monitor with a slave output.

www.clairbrothers.com

The Axi2050 HF driver

Celestion’s FTX1530

The C12

Inject and extract up to 6 Full HD video streams anywhere on your conference network. Lip-synched, with delays of only a single frame

Video-IN BoxVideo-OUT Box

Adamson loads up V4

VERSION 4 of Adamson’s Load Library for Lake Controller is now available, bringing several new features to the platform.

The manufacturer’s loudspeakers are now presented as a single module inside the Lake software, making the process of output routing and the assigning of groups a simpler and quicker affair. This has reportedly been achieved through the use of custom FIR cabinets that deliver a more

B&C creates nextgeneration subwoofer

UTILISING A longer four-layer

as ‘a next-generation subwoofer’. The Italian manufacturer claims that this design results in the

tailored response, particularly in the crossover region.

Another major feature of the update is the introduction of an improved limiting structure.

The manufacturer has tweaked Lab.gruppen’s PLM, PLM+ and purportedly resulted in increased headroom and a ‘cleaner’ transient response.

Furthermore, Array Shaping has been made available as a recallable preset in version 4,

... yet still the presentation is delivered clearly and safely to the audience.

making the process quicker by eliminating the need to recall subgroups and allowing the use of all 28 available groups in Lake Controller while lowering the amount of DSP used.

The V4 software is available to download form the Adamson website, with the individual module

www.adamsonsystems.com

The 18DS115

clad aluminium wire voice coil, rating, 98dB sensitivity and over leap forward from similar models in the B&C range, the 18-inch subwoofer operates within a 30Hz to 1,000Hz frequency include a neodymium magnet, a double silicone spider, a ventilated voice coil gap and an aluminium demodulating ring. www.bcspeakers.com

D-5000

Digital Wireless System

The D-5000 Series provides unprecedented speech clarity for delivering the presenter’s voice to audiences in any speaking scenario. Experience for yourself the clarity, ease and safety of this wireless solution, whether for the classroom, office meeting rooms, banquet halls, courthouses or multipurpose halls.

We supply sound, not equipment. www.toa.com.sg I TOAasiapacific www.toa.eu I TOAeurope

Porsche drives Maui to greater heights

A COLLABORATION between the Porsche Design Studio and Adam Hall’s pro audio brand, LD Systems, has resulted in the creation of the Maui P900. Designed to be the ultimate column speaker system in architectural integration, the 2,173mm high housing has been cast from a solid block of aluminium. Whilst

modules with LD Systems’ DynX DSP technology, 50 neodymium transducers are incorporated within the P900. The 32 1-inch HF and 16 2.8-inch MF components have been arranged according to WaveAhead tweeter arrangement technology to provide a 140° high x 1° wide dispersion. Operating within a frequency range of 42Hz to 20,000Hz (±10dB), patent pending SonicGuide technology merges the signals of the mid-range and high frequency transducers to the coherent plane wavefront that has been precisely time- and phase-

aligned. Capable of producing a maximum SPL of 131dB, two 10-inch LF woofers complete the LF section in the 1,400W RMS-rated speaker. Available in graphite black, platinum grey or white, the rear user interface panel boasts a stereo Bluetooth streaming button in addition to a power connection, a dedicated mono XLR output for system pairing and two XLR stereo line inputs. Designed for small-scale applications, the Maui 5 Go is described by the German manufacturer as ‘the world’s

column-PA system’. The lithium-ion replacement batteries can provide up to six hours of battery life from a single charge, which can be instantly replaced as a result of Quick-Swap technology. The 400W RMS-rated system is equipped with both a microphone and a 4-channel mixer with individual input, main and subwoofer level controls and a

HK Audio delivers packages

variable HF boost together. Further features of the 13kg four-piece speaker system include multi-pin connectors for quick assembly, Bluetooth streaming connectivity and DSP offering multiband limiter, equaliser, compressor and crossover functions. Flexibility is enhanced owing to its immunity to system feedback, promoting its use as a stage monitor.

www.ld-systems.com

K-array releases the hounds

THE MASTIFF line of stage monitors from K-array has been designed to give performers a choice of coverage pattern on stage thanks to their asymmetrical 100° by 30° horn. The larger models of the Mastiff line, the KM312 and the KM312P, feature three 12-inch woofers and produce a maximum SPL output of 136dB (peak). The Mastiff KM312 is the active model while the Mastiff

EM has ESP

EM ACOUSTICS’ ESP Series systems are designed for a variety of live applications, such as small FOH setups, speech reinforcement, monitoring. The series launches with two multipurpose loudspeakers – the ESP-8 and subwoofer, the ESP-15S. Both ESP loudspeakers take advantage of the same coaxial design and compact, lightweight, multi-angle enclosure and include processing technology. The amp power supply found inside ESP-8 and ESP-12 is of universal voltage

design, that will operate anywhere in the world, while four built-in presets allow for stand-alone use, and stage monitoring.

The ESP-15S lowers the frequency range of the ESP Series to 45Hz. The subwoofer also has four

KM312P is passive.

The smaller Mastiff KM112 and Mastiff KM112P offer a coaxial 12inch woofer and reach a maximum SPL of 133dB (peak). According to powered KM112 has a power output capable of driving the KM112P passive version, which in turn can drive a stereo mix, as well as a

The four-member family of powered and passive monitors offer a birch chassis and stainless steel grille.

www.k-array.com

HK AUDIO has created a collection of stereo and twin stereo packages for its Lucas Nano 600

German manufacturer has taken a package approach to the sale of its systems, it also offers a similar solution for its Elements, Lucas, Linear 5 and Key Rack products. The manufacturer has created four packages for its Lucas Nano 600 series – the Lucas Nano 602 Stereo System, the Lucas Nano 608i Stereo System, the 608i/602 Twin Stereo System, and the 602/602 Twin Stereo System. The two stereo system packages allow users to build a 2.1 stereo rig with either a

602 or 608i active sub and two satellites. The packages also include two König & Meyer stands to connect the Nano satellites and two speaker cables featuring Neutrik SpeakOn connectors. The stereo systems are both designed to serve an audience of up to 120 people. The pair of twin stereo packages comprise two active subs and four satellites and have been designed to serve crowds of up to 200. These feature two Lucas Nano units plus a stereo link cable and two of HK Audio’s S-Connect Pole LN signal-routing speaker poles.

www.hkaudio.com

presets, each with a different low boasts integrated handles, a castors.

www.emacoustics.com

NEXO HAS made its NeMo system management software available to

on the iOS platform in 2013, version 2.0 of NeMo sees every feature now replicated for macOS, so that users have the choice of going wired or wireless.

The update sees advances in remote control and monitoring accessed direct from a Mac laptop which can now be plugged into the NXAMP. Users can monitor the over a wireless network, in real or past-time, and store the data as a log.

(in the macOS version). The user

their settings and later match them to online devices, using a device

NeMo version 2.0 also embraces the manufacturer’s new DTD Controller, allowing the remote control of one or several DTDs simultaneously, including preset, patch, EQ, compressor, gain and delay editing, as well as level monitoring. Aside from this version 2.0 offers zones, alert emailing, automatic update of preset libraries and an EQ library, as well as improved performance and stability.

www.nexo.fr

The Mastiff line of powered and passive monitors

The Maui P900 in all three colours

NeMo is now available to Mac users

The multipurpose ESP Series

HK Audio has released four packages for its Lucas Nano 600 series

Next-gen steering

WITH EIGHT years having passed since the release of Fohhn Audio’s original Linea Focus beam steering systems, the German manufacturer has provided an update with the next generation DLI-130 and DLI-230 models. The new Linea Focus loudspeakers,

acoustic conditions, provide new features and digital inputs, including AES/EBU and Fohhn Airea, as well as optional interfaces for Dante, Optocore or analogue inputs.

The Linea Focus DLI-130 and DLI-230 line source units house eight and 16

Resolution software updates for Adaptive series

and feature specially developed DSP technology. They can each be controlled and monitored remotely via Fohhn Audio Soft.

The DLI-130 is equipped with eight 4-inch excursion drivers, while the DLI-230 possesses 16. Additional new features include password protected access control, data readout from an integrated tilt sensor Power Save functionality. Meanwhile, the inputs and outputs both offer DSP functions.

www.fohhn.com

EAW HAS launched an update for its Resolution software to provide its Adaptive series with three new features. Resolution v2.3 delivers spatial equalisation, improved air loss compensation and preset recall functionality to the loudspeaker range. The spatial equalisation feature enables users to EQ particular parts of the loudspeaker coverage by selecting the audience areas that they wish to adjust. This has been designed to save time during set up and due to the high transducer resolution of the Adaptive systems, the function

OutBoard enters the VR game

OUTBOARD’S TIMAX SoundHubVR, brings the British manufacturer’s spatial audio platform into the virtual reality market. Aimed in particular for use in theme park and ‘experience’ attractions, it is designed as a compact package addressing the need for low-latency

immersive audio synchronised to multimedia VR content. With an optional DC power supply it can be built into onboard sound systems, providing the likes of rollercoasters and gaming seats with sequenced dynamic spatial audio. SoundHubVR’s half-depth

2U rackmount chassis delivers instant playback of 16 random-access tracks, EQ, delay and zoning DSP, 16 analogue or Dante outputs and 12-24VDC or 90230VAC PSU options, as well as the TiMax Portal MicroServer multimode

reportedly offers greater precision and accuracy when compared to traditional mechanicallyarticulated line arrays that only allow entire zones to be adjusted. The new air loss compensation algorithm, designed especially for the Adaptive series, is described as generating greater high-frequency throw while also improving HF consistency throughout an entire venue. It facilitates the optimisation of a system’s HF response, offering up to 12dB of extended HF energy at distances of more than 90m.

Allowing users to store and recall

EAW has launched Resolution v2.3

system presets via Resolution, the new preset recall function saves and sets different coverage and voicing settings for different applications that are used on a repetitive basis.

www.eaw.com

showcontrol hub and custom GUI server.

In other TiMax news, OutBoard has released the StageSpace visual programming interface. This

multiple vocal localisation objects on a stage when using the TiMax SoundHub spatial audio processor and TiMax Tracker stage tracking automation system.

www.outboard.co.uk

Fohhn’s Linea Focus DLI-130

4K OVER IP. THE FUTURE. NOW.

Introducing NetworkHD™ 400 Series 4K over IP

Stunning, visually lossless 4K UHD with HDR and multichannel audio over an IP network

With incredibly low latency, the NetworkHD 400 Series is the ideal AV over IP solution for commercial or residential applications where high quality and low latency are key.

Auto-scaling handles mixed 4K and 2K components, while HDR, HDMI 2.0 and HDCP 2.2 ensure full compatibility with the latest 4K content and sources. 16x16 video wall support includes rotation for portrait walls and image flipping, and network set-up is easy using standard managed PoE switches.

The 400 Series also boasts multichannel audio and a powerful audio matrix for separate audio routing, while CEC, Bidirectional IR or RS-232 and the free NetworkHD Touch iPad control app

The NetworkHD 400 Series from WyreStorm. What AV over IP has been waiting for.

Distributed control with Avatus

DESCRIBED AS a new mixing console format that blends the functionality of a fully IP-based large mixing console with a contemporary look and feel, Stage Tec’s Avatus surface boasts 21-inch multitouch displays, and unlike other models in the German manufacturer’s portfolio, utilises an operating philosophy that is described as being ‘less technical’. This is achieved through the use surface and a control surface consisting of just three panel types with no central panels. The system’s control elements and interfaces are connected the surface and other elements communicate via IP networks. An that multiple users can operate a console from different locations with access to all parameters and central functions.

The Avatus concept provides more than 800 input channels and 128 sum buses. Channel

formats range from mono to 7.1, and additional features include a de-esser, implemented as an audio module, loudness metering, multiband compression, and the Stage Tec automixer.

from 12 to 96 channel strips. Interconnectivity with other standard.

Some new features have also

been added to the manufacturer’s existing models via the latest

the 4.3 software release, Stage Tec has created several new audio processing functions for its Aurus platinum console platform. Whilst all the processing functions previously utilised continue to be available, an automixer based on gain sharing can be used on every input channel, providing a better

four separate groups. For scene switching in theatres, the Aurus platinum scene automation

crossfade curves and times for each individual channel. Loudness

R128 is available in group channels ensuring that no channel capacity is lost, whilst all the modules in the channels remain available.

A further software release from the German manufacturer comes in the form of v5.28 for its Nexus systems. Prior to this availability, the number of Base Devices had been capped at 31, for which the audio network could manage by combining an enhanced number of Base Devices with the recently increased capacity of

existing systems can reportedly be upgraded to more than double the www.stagetec.com

Ray joins the Artemis family

input channels, and to serve in environments where space is at a premium, such as inside OB vehicles.

THE LATEST addition to Calrec’s Artemis console family, Artemis Ray, is capable of handling up to 72 faders – the same

amount as its big brother, Artemis Shine. It is also designed to be more powerful than Artemis Beam, delivering 456 fully featured

digiLive heads to the rack

HAVING FIRST launched the digiLive 16 compact mixer last year, Studiomaster has now added rackmount ‘black-box’ versions with the introduction of the digiLive 16RS passive and digiLive 16P-600 selfpowered formats.

By combining simultaneous integrated touchscreen and iPad operation, the new models exhibit the same features as the original model, such as the 7-inch touchscreen and remote iOS app iPad operation. Sharing the same 16 input, 16 bus and eight effects bus format as the digiLive 16, the ‘black box’ models

DA conversion. Whilst the 16RS

features stereo XLR master outs the 16P-600 comes with four smart

two-stereo on both models, for which USB interface.

As well as the new digiLive models rated at 3,000W, 4,000W and 6,000W together with two 4-channel models rated at 6,000W

in stereo, parallel or bridge mode and

panel, which is also now available on the Artemis Light, Beam and Shine consoles and allows for the inclusion of more faders in a smaller area. The panel is the same width as the standard Artemis fader panel and includes with Artemis Ray’s chassis, this allows for the 72 faders to span a footprint of 2,372mm.

The console operates at several sample rates, providing up to 456 channel-processing paths, track outputs and 32 auxiliaries at channel, as well as offering 70 minutes of assignable delay and three independent APFL systems. The British manufacturer has also released an update for its V8 software, providing RP1 support sample rates. The update delivers several new features to the

Brio console, which can now be and offers stereo- and 5.1-path spill leg access and independence controls. Now able to operate at multiple sample rates with the options for 44.1, 48, 88.2 ducker with selectable sidechain the dynamics section. A second with single- or 3-band options on all channels, groups and mains.

www.calrec.com

power switching power supply that operates universally between 90250VAC. A 32A mains power input socket is also incorporated into the 1U design together with thermal, overload and DC protection circuitry and indicators, balanced XLR inputs, an output limiter and variable speed fan cooling.

incorporate adjustment technology that claims to provide over 95% under high current, low impedance

For applications that require a little less power, there are now eight

range, including four 2-channel units rated at 300W, 500W, 700W and models rated at 600W, 1,000W, Weighing less than 12kg, all eight

Lastly, the UK manufacturer has also upgraded the Livesys5 micro SD and USB recording and playback functionality together with Bluetooth connectivity.

www.studiomaster.com

With the release of Artemis Ray, the family gains a new panel

John Stadius goes to 32-bit

JOHN STADIUS and his team at DiGiCo have been designing pre-amps for more than 40 years. Having already witnessed a resolution increase from 18-to 24-bit. The British manufacturer has now revealed the newly designed 32-bit ‘John Stadius’ Mic Pre-Amp. The 32-bit SD Mic Pre-Amp Card provides a fully differential audio path from input to converter and twin 32-bit ADC conversion per channel. Its conversion time is is 123dBA. The card also offers a frequency response between 22kHz of transparency and clarity with 12dB harmonic weighting improvement and eight channels of temporal perfection with a 0°

phase shift. Phantom power up

ultra-low noise linear power

Gold acoustic series capacitor is the only phantom power blocking capacitor in the audio path. DiGiCo also promises a fully shielded with no artefacts and a reduced operating temperature.

consoles can now be controlled from an iPad thanks to the DiGiCo S iOS app. Compatible with S21

enables wireless remote control and provides an overview of the console layout.

The app facilitates control of allowing the saving of each session.

on/off functionality for each unit as

An overview mode allows users to select the bank that they would like to control. Connection details can be

BSS Blu-USB

Harman USB integration

CONNECTION HAS been the theme running throughout several new releases from Harman’s audio brands this year. Continuing along this line is the latest addition to the BSS catalogue: integrates devices such as PCs and Macs with Blu link-enabled audio systems via USB. This allows audio to be sent to and received from the Blu link bus. The manufacturer describes it as ‘ideal for corporate meeting room applications that use a variety of web-based conferencing services’. Blu-USB can send and receive up to eight channels of audio simultaneously and offer options of resting on top of a conference table or for mounting beneath a table or on a wall.

‘Blu-USB solves the distance limitations associated with

solutions manager at Harman. ‘By converting audio to Blu link close be located in a different location up to 100m away.’

www.bssaudio.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 32-bit ‘John Stadius’ Mic Preamp

New numbers for Cadac

through-system propagation delay from inputs on stage to outputs, including all processing and A-D/ D-A conversions in 37 samples (at 96kHz), reportedly making it the audio industry’s lowest latency protocol. The console combines 16 creative onboard stereo effects and is 64 x 64 Waves interface. This enables direct connection to a Waves MultiRack SoundGrid server in addition to multitrack recording directly to a laptop.

OFFERING ENHANCED production capabilities with an expanded dual 23.5-inch, 16:9 HD touch screen and a 36-fader control surface, Cadac has created the CDC seven as an addition to the medium format CDC six digital console. Offering 96 inputs, the new addition doubles up on both the large format LCD touch screen and associated encoders, together with the physical fader count. The new console retains the CDC six’s 56 busses, for which 54 of them software update.

The CDC seven’s ‘human interface’ has been designed to dual LCD touchscreens display the CDC swipeable user interface. Encoders immediately to the right of and below both screens encourage the use of touch and swipe operation in navigating and

operating the console. Dual screen operation provides simultaneous display and control tasks, so that screen whilst the inputs to the

The faders and encoders naturally follow the GUI displayed on the individual screens, resulting in further increases in the speed

An additional centrally mounted 6.5-inch LCD touchscreen provides access for system control. Further features of the CDC seven which employs the MegaCOMMS digital audio network include a unique monitor mode with mix focus and the ability to create custom fader layers.

All 36 motorised faders on the CDC seven feature stereo metering and a full colour user

CDC audio protocol allows total

CDC console software, Cadac has added Sticky Channels with custom layers on the 23.5-inch touch screen, which allows the creation of custom layers with any combination of inputs, outputs

fader bank. These either ‘stick’ to the left hand side of the screen starting at channel one or the right side ending at channel 16. On the CDC seven and CDC eight this is an option for both screens, so two custom layers can be deployed at the same time.

an additional six busses if LCR is not required, cross-fade added to cue events, metering on each bus output within monitor mode, access to GEQ from monitor follow, a console lock and a revised Patching GUI.

www.cadac-sound.com

Ruby takes over the airwaves

TAKING INSPIRATION from the touchscreens that consume daily life, Lawo has built a new mixing console aimed at radio broadcasters which blends physical faders and switches with multi-touch controls. Described as a ‘visual radio console’, the German manufacturer has named it Ruby. ‘With Ruby, operators can work the way they like: with touchscreen displays or physical controls,’ explained Stephan Türkay, Lawo senior product manager. ‘We provide a wide range can craft their own custom screens with our GUI builder.’

The console features AES67 and MADI interfaces with eight expansion slots for the addition of mic, line, AES3 and studio I/Os. It reportedly enables operators to mix and route audio as they would with other onscreen studio tools and its soft controls are able to co-exist with other studio applications,

Soundcraft Notepads at the ready

SOUNDCRAFT IS targeting podcasters and singersongwriters, as well as audio professionals, with its new entrylevel Notepad mixers. The Notepad-5, Notepad8FX and Notepad-12FX are all desktop analogue mixing surfaces featuring Lexicon’s signal

Stagebox 32i and Mini Stagebox 16i, both of which provide additional I/O channels for Soundcraft’s Si consoles.

Equipped with Studer-designed preamps, the new stage boxes enable up to 80 mix tracks when used in conjunction with the Si Impact mixer.

including playout systems, phone queues and codecs. Available in

to 60 faders, Ruby offers a choice

styles.

Radio engineers should also note that Lawo has released an upgrade for its R3lay virtual radio

processing technology and USB I/O connectivity.

Soundcraft Notepad mixers also include microphone preamps, XLR combination jack mic/line inputs and ¼-inch balanced inputs.

Designed for ease-of-use, the three models incorporate a traditional channel strip layout and three EQs per channel. An aux/effects send allows for audio signal distribution and a master fader with LED metering allows XLR stereo output level control, while control for master mix or aux output levels is provided by a rotary headphone level.

In other news, the Harman brand has introduced the Mini

Ruby offers a mixture of physical faders and touchscreen controls

Additionally, they can be used for more complex mixing environments, such as adding an optional Dante card for receiving from a house router while recording up to 32 tracks over USB to a connected digital audio workstation.

The Mini Stagebox 32i and 16i both include built-in MADI over RJ-45 connectors and dedicated XLR mic pre inputs which enable 32 or 16 simultaneous channels of external analogue input respectively. The 32i provides 12 analogue outputs, while the 16i delivers eight.

www.soundcraft.com

The Notepad-12FX

The two new Soundcraft Mini Stageboxes

John Stadius The Scientist

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New DiGiCo SD 32-Bit Mic Pre-Amp

No solid console required

SOLID STATE Logic has listened to continual requests from its customers for a means to directly control a broadcast mix without the need for a physical console. The response: The Tempest Control Rack (TCR), which enables users to build modular systems from System T components.

TCR is a 3U system with a retractable touchscreen, making use of the System T control software, therefore allowing it to serve as a standalone control interface for System T installations. Its custom screen-mounting solution facilitates and for the entire system to be mounted within a traditional 19inch rack or angled for integration in studio furniture. It features myriad connections, including dual PSU, primary and secondary OCP and Dante network connections, studio integration and SSL network connectivity, as well as facilitating T-Solsa control from a PC on the same network. USB connections are present on both the rear and front panel, while HDMI and DVI-D video

outputs are provided.

Alongside TCR comes the release of the T25 Tempest Engine.

Described as a cost-effective, lower capacity processing option than the existing T80, the T25 offers 256 paths, compared to its bigger brother’s 800. It can be used with both the TCR and a System T surface, allocating paths and processing in real time. The T25 and T80 engines can also be deployed as mirrored redundant pairs.

Combined, TCR and T25 increase the scalability of any SSL

dLive gets super connected

A NEW interface card from Allen & Heath has been introduced to boost the connectivity options available for dLive systems in both broadcast and live scenarios.

The SuperMADI houses eight traditional BNC connectors and transmission. Both the coaxial and optical formats are stated to offer up to 128 inputs and outputs at 96kHz, with redundancy and sample rates that are switchable per link pair. The card can also be used to link a MADI-enabled thirdparty console to a dLive.

‘We’re seeing a strong demand for our dLive systems in dedicated broadcast scenarios and in situations where a venue or rental company needs to provide a feed for broadcast or to an OB truck,’ explained live sound product manager Ben Morgan. ‘The

SuperMADI card makes it easy, whatever their sample rate or format requirement.’

In addition to SuperMADI there is also a new range of four AES3 interface cards, comprising 2-in/8-out, 4-in/6-out, 6-in/4-out, and 10-out formats. The cards provide a solution for digital patching to system PAs, monitor amps and speaker controllers or for combining consoles. The ouput sample rate on the AES3 cards is switchable between 96kHz, 88.2kHz, 48kHz and 44.1kHz, while the inputs offer sample rate conversion from 32kHz to 192kHz.

Both the SuperMADI and the AES3 cards can be housed in the networking slots of any dLive S Class or C Class surface or MixRack.

www.allen-heath.com

Network I/O. Large, scalable AoIP infrastructures can be built from Dante or AES67 networks to connect to other AoIP solutions, while Network I/O and Dante systems can be controlled and routed from TCR, System T surfaces or third party routing control systems via the Dante API.

On the subject of Dante, SSL has expanded its Network I/O range with the addition of an onstage I/O unit: the SB 32.24 Stagebox. Featuring the manufacturer’s SuperAnalogue preamp design, Network I/O SB

32.24 supplies a pair of redundant RJ-45 Dante network connections, can be equipped with RJ-45 or optical connectors as required and on-board gain-compensated Dante “split” capability. The 5U system also houses dual redundant power supplies, 32 mic/line inputs, 16 analogue line outputs and eight digital inputs and outputs on four AES3 input/output pairs. Each network connection can be utilised as an extension or for connection to a second independent Dante network. Meanwhile, the BLII-Dante HC Bridge serves as a 1U bi-directional bridge between the manufacturer’s

Blacklight II format and a Dante HC connection. It is said to deliver 256 channels of ultra-low latency 96kHz audio for SSL Live consoles to and from a Dante network.

New from SSL on the software side enables AWS channel features to be automated, while the new AU (Audio Units) Single Fader version of the plug-in allows users to access record and mix bus automation. A also been released for all Matrix2 and Matrix consoles.

www.solidstatelogic.com

Network I/O SB 32

Powersoft boosts OEM options

POWERSOFT STATES its LiteMod 4HC and MiniMod 4 new benchmark when it comes to low idle power consumption, for its OEM customers. Targeting active loudspeaker manufacturers, the company goes on to say that the modules can be ‘tailored to customer requirements, seamlessly integrated into the chassis, and fully optimised for the product’.

‘Both platforms will provide any loudspeaker’s designer with an a complete range of products said Luca Giorgi, sales and business development director at Powersoft. The manufacturer also insists it will assist with after sales service.

Designed for use in all high channel count applications, threeand two-way systems, subwoofers

Powersoft’s LiteMod 4HC

and satellite systems, the LiteMod 4HC integrates a PFC-equipped power supply for universal mains operation, as well as four output stages, delivering a maximum total four-, three-, two- or single-channel

MiniMod 4, meanwhile, is suitable for all high channel

count applications, three- and two-way designs, subwoofers and satellite systems, as well as MI and consumer audio. Offering integrated module with a universal mains switching mode power supply with PFC and a total of two- or single-channel power output.

Features shared by both modules include low standby power consumption, smart rails management to optimise consumption and reduce heat, auxiliary output voltages, output short circuit protection and thermal shutdown with monitor output.

www.powersoft-audio.com

The MiniMod 4

The new SuperMADI and AES3 cards

SSL’s Tempest Control Rack (TCR)

Apart launches Revamp8250

DESCRIBED AS the most

in its range, the Apart Audio Revamp8250 is an 8-channel bridgeable amp that, when or matrix, can be used to create eight zones in mono or four zones in stereo, or to create four bridged mono or two bridged stereo systems.

The unit’s rear panel houses an overload LED indicator and input level attenuators on all inputs to aid installation, while the front panel

for each channel. Connections on the rear of the device include eight unbalanced RCA with pass through and eight balanced inputs on euroblock terminals. Power output

Outline puts Newton in control

LA4X following hot on its heels. The French manufacturer has been a 2015 and has reportedly committed its development resources to open

be launched with both Bridge and Listener technology. All LA4X models manufactured since June ready and can be enabled via a

variable speed fan to keep the unit cool.

www.apart-audio.com

units manufactured before June 2015 will require an updated DSP card, which is available through the manufacturer’s service team. Alongside the

the LA Network Manager software has also been updated with an manufacturer, this will ‘ease connection with other systems’ and ‘integrate seamlessly via an easy and natural user interface’.

www.l-acoustics.com

Yamaha and Revolabs huddle together

SPECIFICALLY DESIGNED for huddle rooms, Yamaha has created the CS-700 as an all-in-one collaboration solution. The CS-700 wall-mounted system incorporates audio, video and collaboration capabilities including Revolabs’ microphone technology. The beamforming microphone array ensures audio can be captured and delivered to the far end, whilst four speaker elements provide audio coverage for all participants in the room. Through the integrated USB port, the CS-700 can be connected communications platform such as Microsoft Skype for Business.

In terms of visuals, the unit is equipped with a wide-angle video camera, whilst a high ‘pixel-per-face’ resolution ensures that participants can recognise nuanced facial expressions. The plug-and-play design with its USB connection to

a laptop or tablet allows users to seamlessly join a meeting. Remote management by IT personnel from one location is made possible with the CS-700’s integrated network management system.

In other news, Yamaha has partnered with Ultimate Ears to deliver EQ presets for the former’s Rivage PM10, CL, QL and TF series digital mixing consoles that reportedly provide optimum performance when using the latter’s in-ear monitors. The presets have been developed for use with UERM, UE11, UE18, UE4, UE5, UE7, and UE900 IEMs that can be instantly recalled whenever

needed on Rivage PM10 consoles

and QL series consoles can be downloaded into the user area for

OUTLINE HAS designed its new multi-function centralised loudspeaker processing and control system to be revolutionary and as such, has named it after one of history’s greatest minds. Newton is described by the Italian manufacturer as an FPGA-based ‘Multimedia Nucleus’ that, in addition to providing loudspeaker system control, facilitates media conversion, sync and clock management and audio distribution with networking capabilities.

Available in three hardware and outputs, Newton is equipped with analogue, AES, MADI optical, MADI coaxial and Dante I/Os as standard. These can be combined

upon the application. The system is also able to manage multiple clocks from different sources simultaneously, enabling the connection of several nonsynchronised digital protocols without affecting the phase coherence of audio outputs.

quick access from the Yamaha website.

Staying with Yamaha consoles, the CS-R10-S control surface has been released to provide the same functionality as the CS-R10 in environments with limited space. At the size of its older sibling, the CS-R10-S includes dual console functionality, allowing two CS-R10 or CS-R10-S surfaces to be connected to a single DSP-R10 DSP engine.

Providing a safety net for live applications, the system can be types as a main or backup with automatic switchover in the event of failure. It also features dual redundant internal power supplies and separate AC inlets. In addition, the Italian manufacturer has released the second generation of its OpenArray prediction software. OpenArray2

New features include the ability to select and drag multiple objects, quickly create complex solids and create multiple surfaces from a section view. It is also possible to obtain a 2D simulation on the plane of a line array and to choose multiple measurement points and show multiple frequency responses on the same graph when using the microphone function. Outline also provided the capability to convert OpenArray1 projects to OpenArray2.

www.outline.it

Yamaha’s Rivage PM10 series has received an update with mixers with an Eventide H3000 Live ultra-harmoniser plug-in and support for Dan Dugan Sound Design automated mixing. The Japanese manufacturer’s TF series digital mixers also support Dugan auto-mixing following their the MTX3/MTX5-D and MRX7-D upgrade.

a TwinLANe card that supports single-mode optical fibre and expands the system connection flexibility of a TwinLANe audio network by supporting singlemode fibre connections.

www.revolabs.com

www.ultimateears.com

www.yamaha.com

THE LA12X

The CS-700 collaboration solution

The CS-R10-S

The Revamp8250

Pack away and set up with ease

frequency extension and detailed bass reproduction. The K175, on the other hand, utilises an on-ear design with 40mm transducers. The manufacturer also claims that all three models are low impedance and possess the best frequency response and sensitivity for their class, resulting in a higher output before distortion even when playing back from lower-powered mobile devices. The K275 and K175 feature a closed-back design for live recording and monitoring, while K245 features a semi-open design suited for editing and mixing.

In addition to a foldable headband that features a three-axis hinge, the headphones have self-adjusting

quicker set up times and the ability to instantly recall performer presets. Additional products with embedded ioSYS technology and Connected PA compatibility include the Soundcraft Ui24R mixer, JBL PRX800W loudspeakers, dbx Di1 direct boxes and AKG P5i microphones.

www.akg.com

Axient goes digital

BUILDING ON the technology employed in the UHF-R, ULX-D and Axient wireless systems, Shure has developed Axient Digital. The manufacturer states that the new digital wireless microphone system was created in response to continued RF spectrum pressure and that it offers high-performance RF and hardware scalability.

FOLDABLE STUDIO headphones from Harman AKG’s brand have been released for on the go musicians and audio professionals. The new family comprises the K275, K245 and K175 models and is said to combine robust build quality and comfort for long listening sessions with an ‘accessible’ price point.

The K275 and K245 models feature 50mm transducers that reportedly provide great low-

AKG has also unveiled a new microphone adapter for the Harman Connected PA system. Featuring embedded ioSYS technology, the portable MDAi CPA Connected PA microphone adapter is compatible with dynamic vocal mics from both AKG and other manufacturers. The company states that using the products is as easy as plugging the adaptor into any mic, as it

the Harman Connected PA app

Reach the Summit

MA-808 Portable Wireless PA System

The MA 808 innovatively integrates wireless microphones, speakers, CD / USB player and a Bluetooth interface for wireless music streaming into a sturdy, compact case that offers an entirely portable sound system anywhere it is needed. MIPRO supplies UHF and 2.4 GHz receiver modules options and matching handheld or bodypack transmitters, as well as the exclusive miniature transmitters for musical instruments, such as violin, saxophones, erhu, guitar, cajon, and so on, the MA-808 portable wireless PA system.

The Ultimate in Convenience

Lightweight with built-in pull-up handle and sturdy wheels for easy transport, the economical rechargeable battery system enables operations indoors or outdoors without AC power and cumbersome cables. Even handheld & bodypack transmitters can be stored within the sleek cabinet.

to work in the available spectrum,’ said Nick Wood, director for wireless products at Shure. The system’s receiver is compatible with a pair of transmitter options: the AD Series and ADX Series. Axient Digital operates as standard when used with the AD Series transmitters. However, when used with the ADX Series, ShowLink is incorporated to supply realtime control of all transmitter parameters. The ADX Series also

features a micro-bodypack with an integrated self-tuning antenna. Compatible with the Shure Battery Rack Charger, Wireless Workbench and ShurePlus Channels software, Axient Digital features Quadversity receiver technology, reducing the risk of signal fades, interference and dropouts. Digital audio is delivered via Dante and AES3 with a frequency range between 20Hz and 20kHz and wide dynamic range is also offered along with AES-256 encryption and 2ms latency from the mic transducer to the analogue output. Its wide tuning range of up to 184MHz presents options for dual or quad receivers when combined with a common receiver platform supporting AD and ADX transmitters.

www.shure.com

The K245

Duet with Dante

THE DUET digital wireless monitor system is a new IEM solution from Lectrosonics that incorporates Dante digital inputs in addition to being able to accept analogue feeds. It comprises the M2T dualstereo half-rack transmitter and M2R diversity beltpack receiver. Designed with touring, installation, applications in mind, it covers a UHF frequency range between 470MHz and 608MHz using digital modulation for transmission.

The M2T transmitter allows for up to four stereo or dual-mono transmissions and enables audio

as either analogue or Dante.

Analogue inputs are all XLR/TRS ports, whereas Dante networked audio inputs are received via dual RJ-45 connectors that facilitate a Dante Ultimo interface. A further RJ-45 port provides an Ethernet connection for programming and

control using Wireless Designer software, while a USB dock on the

Meanwhile, the M2R receiver runs on a pair of AA batteries for a reported operating time of more than four hours when employing alkaline cells. It has been developed to offer seamless audio by making use of antenna diversity switching during digital packet headers. The headphone jack receives its feed from a 250mW

AT strengthens

noisy environments. Both the M2R and M2T boast two-way IR sync, meaning that scan data from the receiver is distributed to the transmitter and on to the Ethernet network. From there, Wireless Designer can be used for frequency planning and coordination.

www.lectrosonics.com

Intelligibility around the boundary

EARTHWORKS HAS designed its CTB30 boundary microphone with a focus on speech intelligibility and coverage, incorporating a that makes it suited to conference rooms, boardrooms, classrooms, lecterns and houses of worship.

from 60Hz to 30kHz and reportedly has a fast diaphragm settling time, which the manufacturer states ‘allows more subtle details of the human voice to be reproduced’.

The CTB30 utilises the manufacturer’s True Semisphere polar response technology, providing what is described by Earthworks as ‘omni semisphere coverage’, essentially delivering the same level of intelligibility for speakers located around the microphone without the loss of high frequency. The pick-up

pattern is said to be capable of covering a conference table seating 12 people.

At 4.1-inches in diameter and available in black, white, silver or Nextel dark black to blend with myriad décor, the microphone includes RF shielding and a

minimise interference from

ambient noise. It comes bundled with a 3m cable with XLR-3M that can be attached beneath or to the side of the CTB30. A pair of 6-32 screw holes and a keyhole are located on the base of the unit for secure mounting during permanent installations.

www.earthworksaudio.com

Aviom stays static in large networks

Aviom personal mixing systems. The D800-Dante allows up to 64 Dante channels to be routed to the A-Net network, while the D400-Dante halves this to 32 Dante channels.

THE THIRD model to join Audiostudio microphone range has been unveiled as the AT5047. Joining the existing AT5040 vocal and AT5045 condenser instrument mics, the AT5047 is a cardioid condenser with a transformer-coupled output that is described as offering a ‘noticeably smooth sonic character’ and high SPL handling. It can also reportedly cope with wide variations in dynamic range, making it suitable for everything from a brushed snare drum to vocal, guitar or brass instruments.

Like the other models in the series, the microphone is handconstructed from aluminium and brass and features an internal shock mount to decouple the capsule from the body. It can also be used with the included AT8480 mount, to isolate against

knocks and vibrations from the surrounding environment. It also ships with a hard-shell carry case.

www.audio-technica.com

DPA strives for studio quality on the go

DPA MICROPHONES has journalists in its sights with the launch of the d:vice MMA-A digital audio interface. The two-channel microphone preamp and A/D converter is compatible with iOS, Mac and PC, and has been designed to capture studio-quality audio for recording and broadcast

controlled via an iOS app, allowing users to store gain settings and

Third party apps can also be used to complete tasks such as live broadcast and high quality recordings.

NEW FIRMWARE for Aviom D400 and D800 Dante A-Net Distributors has added the ability to set a static IP address, a much requested feature from users working with large and complex audio networks.

In addition, both A-Net Distributors now allow users of AES67-capable products to access channels assigned to the Aviom units. The units are designed to distribute power and digital audio data to

The updates are available immediately and can be found in the Support section of the Aviom website.

www.aviom.com

The Danish manufacturer has built mono, dual and stereo capabilities in to d:vice, allowing it to adapt to the situation, including for two-channel interviews or stereo ambient sound recordings. It comes bundled with interchangeable lightning and USB cables, while its MicroDot inputs facilitate connection with all DPA miniature microphones. With a 2-inch diameter, d:vice is

In other news, DPA has released the SCM0013-B four-way d:screet microphone clip, developed for situation requiring hidden microphones. Offering upwards, downwards, left and right mounting options, the clip possesses three cable attachment points and is available in black. It is compatible with the d:screet 4060 series, Slim series and 4071 omnidirectional microphone.

www.dpamicrophones.com

Earthworks’ CTB30

The d:vice MMA-A digital audio interface is compatible with iOS devices

The Goliath HD The new look Orion Studio

The MC7.1 surround sound monitor controller

D D LINE

HIT THE ROAD

WITH THE NEW HD RANGE SPEAKERS

The concept of the HD-Line derives from the touring industry, bringing in a elegant and compact cabinet all the experience of RCF professional sound with the maximum reliability and strength for the intensive use on the road.

• Brand new transducers

• Improved sound quality with FiRPHASE processing

• Renewed grilled design to exalt the prefessional look

• 1400 W peak

• 131 dB max SPL

• 12” high power woofer, 2.5” v.c.

• 1.4” HF driver, titanium dome, neodymuim 3.0” v.c.

• 1400 W peak

• 130 dB max SPL

• 12” high power woofer, 2.5” v.c.

• 1.0” HF driver, 1.5” v.c.

• 800 W peak

• 128 dB max SPL

• 10” high power woofer, 2.0”v.c.

• 1.0” HF driver, 1.0” v.c.

HD 32-A MK4

HD 12-A MK4

HD 10-A MK4

S6L targets theatre Venues

THE LATEST Venue software for Avid’s S6L live sound system

and capabilities based on the manufacturer’s MediaCentral platform that are intended to aid the console’s use in theatre applications. Venue 5.4 includes updates to the Avid Venue Snapshot and Events architecture as well as functionality to enable

were previously time intensive. The updated Snapshots system includes new momentary (nonsequential) snapshots, snapshot groups. Parent/child snapshots

and aux sends (up to 96) can also be added to the snapshot Scope. Events updates are stated to offer trigger events via external MIDI commands, LTC/MTC timecode values, the channel colour and X&Y switches on the control surface.

The software also allows users to freely assign outputs between networked S6L systems that are sharing I/O, enabling for example engineers to assign Stage 64 outputs per output card instead of having to assign a Stage 64 entirely to one S6L system or

another. Customers with a valid Avid support plan can download Avid Venue 5.4 software from their Avid Account.

Avid has also launched a new free version of Media Composer called Media Composer First. Much like Pro Tools First, it’s fully-featured but limited in the number of audio and video tracks that can be used – four video tracks and eight audio tracks. bins but are not supported for

project and bin sharing via Avid Nexis.

Furthermore, the Media Composer row of buttons and information in

Riedel advances the intercom platform with Bolero

BOLERO HAS been designed to be an expandable, full-roaming, DECT-based intercom system in the licence-free 1.9GHz frequency range. Fully integrated into Riedel’s Artist digital matrix intercom platform, Bolero offers a rich set of features and connectivity that can be applied as a wireless beltpack, a wireless keypanel or a walkietalkie radio thanks to the integrated mic and speaker. A point-to-point intercom ecosystem is created by operation over a standard AES67 IP network, for which the decentralised antennas connect to AES67 switches and Artist frames equipped with AES67 client cards. The beltpacks take the appearance of Riedel panels, but are wireless.

The Bolero high-clarity voice codec provides enhanced speech intelligibility together with an reportedly support twice the

number of beltpacks per antenna for the same audio bandwidth as other DECT-based systems. Riedel says the codec also offers exceptional latency characteristics,

processing power, providing enhanced beltpack battery life that reduces DSP processing power for other functions.

Bolero features Advanced DECT Receiver (ADR) technology, which

and allows the system to be used in challenging RF environments. The incorporation of Near Field Communication (NFC) technology into both the beltpack and the active antenna lets users touch the beltpack to the antenna in order to complete the registration process. The beltpacks support Bluetooth 4.1 allowing for either a Bluetooth headset or a smartphone to be

the Source/Record and Timeline windows, and there are only 10 www.avid.com

connected. When a smartphone is connected, the beltpack acts like a hands free setup so that calls can be received on the phone via the headset. Calls can also be made to connect a person into the intercom matrix, thus eliminating the need for a telephone hybrid.

The hard wearing and ergonomic beltpacks combine high-impact plastics and rubber over-moulds, whilst the display can be inverted so that it can be read in any orientation. The beltpack features six buttons for each of the six intercom channels together with a separate reply button for promoting a reply to the last channel called.

www.riedel.net

BRUTALLY HONEST.

At this level, there is no room for dishonesty. You need the sound of absolute truth. Designed and engineered from scratch to reveal details that no other flagship monitors can. Innovation runs deep and wide in the new ADAM S Series. With more bass extension.

Trust Your Inner Ear

Dramatically enhanced mid-range detail. And loud, intensely accurate output without fatigue or distortion. This is sound designed to reach your inner ear. Inspire trust in your creative instincts. And move you to create your best work… by hearing what others miss.

The ADAM S Series

S3H

Clear-Com cuts additional keys

THE NEWEST additions to the V-Series of lever key panels from Clear-Com have been designed in such a way to provide a third more lever keys in a 2U intercom and 1U expansion panel. Comprising the V32LD 32-key intercom panel and V16LDE 16-key expansion panel, the series has been created to allow for advanced programmability in the same panel space as existing systems.

A 2U panel, the V32LD offers four programmable function buttons

The V32LD joins Clear-Com’s V-Series

that can be used to access system functions including key, IFB, partyline and group assignment. These buttons also allow for advanced level operations available in Eclipse HX systems. Power is courtesy of a USB charging port,

while new features not available on previous V-Series solutions have been added, such as 10-character international font displays, native IP connection, the ability to host two aux channels over IP, DSP audio EQ and dynamics. Also new

is the ‘Listen-Again’ feature for playing back the most recent incoming call.

The new models join the existing 1U, 12-key and 12-key portable desktop units in the V-Series. It is therefore now possible for users to combine up to four expansion panels to access 48, 64, 80 or 96 keys at once, while eight named shift pages facilitate additional key labels on the main panel.

www.clearcom.com

AES67 comes to Harman audio and video products

A VARIETY of Harman networked audio and video product families will now support the AES67 protocol. The manufacturer’s BSS, Crown and AMX brands will all offer products with this capability.

The products from BSS supporting the protocol are Soundweb London Blu-806DA, Blu-326DA and Blu-DA devices which will support both Dante and AES67 natively and replace the Blu-806, Blu-326 and Blu-Dan devices respectively.

will also support AES67 through a Finally, AMX Networked AV N2000 and N1000 Series Video encoders and decoders will also support AES67. The model numbers of these encoders and decoders denoting AES67.

A new release of HiQnet Audio

Architect will include the Soundweb London devices and updated

the existing Soundweb London Blu806, Blu-326 and Blu-Dan devices, to enable AES67 functionality in devices already deployed in the Staying with audio networking, Enova DGX audio switching boards with Dante integration offer Dante networked audio feeds to and from Enova DGX 100 Series digital media switchers. With support for up to 16 stereo decoded inputs and outputs, users can independently route audio from traditional and networked A/V sources to virtually any other directly connected or networked A/V device via internal switching and standard Cat-5e, Cat-

The audio switching boards also offer integrated DSP on every output and an on-board 10-band parametric EQ.

The boards are offered in pairs, with one providing direct Dante networked audio connections on the input side, and a separate board for the output side of Enova DGX enclosures.

The new audio switching boards are available in two models, each compatible with varying Enova DGX solutions. The DGX3200-ASB-Dante kit brings eight stereo decoded inputs and encoded outputs to Enova DGX 800, 1600 and 3200 enclosures, while the DGX6400ASB-Dante kit brings 16 stereo decoded inputs and encoded outputs to Enova DGX 6400 enclosures. www.harman.com

Push the button

DUE TO growing demand from intercom users, RTS has launched three new pushbutton models as part of its KP-Series. These new additions are the KP-5032PB and KP-4016PB keypanels, and the EKP-4016PB extension keypanel. The pushbutton KP-Series systems are designed to facilitate a simple push-to-talk operation as well as easy switching between talk and listening mode. As with existing solutions in the range, they offer digital audio via Bosch’s Omneo IP technology, including Dante AoIP streaming. Omneo supports the Open Control Architecture (OCA) protocol and is compliant with the AES70 standard. RTS has also released

enabling users to choose between the Omneo IP or RVON (RTS Voice over Network) protocols. Each model includes a selection of different connectors, such as GPIO and RC, and allows for backward compatibility with earlier matrix generations.

www.rtsintercoms.com

Enova DGX 3200 boards

The KP-5032PB

Double the duty, half the height

THE SONIFEX PC-AD2 is a digital PCIe half-height card that serves as a dual stereo analogue input/output and dual stereo AES3 digital input/output sound card. With a dedicated AES11 sync input and two GPIO inputs and outputs, one of its analogue inputs is able to serve as a dual mono or stereo mic input.

The PC-AD2 is compatible with a range of APIs, such as Windows Wave, DirectSound, DirectShow, MCI, MIDI playback and Core Audio. It can also be used with various audio compression modes via software compression systems, including Windows Audio Compression Manager, and has been tested against radio broadcast standards Broadcast Radio Myriad, Enco DAD and RCS.

Phantom power can be applied at +48V when the card serves as a microphone input. However,

Fibre for all

OPTOCORE HAS launched the SFX7 network interface controller as a ‘complete industry-wide network solution’. Designed to be built into third-party product the form of interoperability and integration for any product via IP for audio channels as well as advanced control data, SFX7 has been developed for full functionality within a single form factor. When used as a full IP solution, it utilises a built-in Ethernet switch creating a large IP network with all other nodes.

this is removed should Line Input 1 become active. The mic input possesses an audio limiter, while the clipping threshold is set by the peak analogue level for analogue inputs of +15, +18, +20, +22 or +24dB. The core sampling rate is synchronised with an external source, either from the AES-3 inputs, the AES-11 sync input or another PC-AD2 via an inter-card cable.

Multiple cards can be installed on a single PC and independent asynchronous sampling rate conversion on the inputs supports rates from 32kHz to 192kHz as well as an output rate from 192kHz to 32kHz. An optional 44-pin D-type connector for XLR and 9-pin D-type breakout leads, dubbed PC-AD2BC, is also available.

www.sonifex.co.uk

The manufacturer claims that SFX7 provides ‘the lowest latency on the market’ and has conceived it for simple plug-and-play operation.

The module boasts 512 channels of input and output and includes two redundant Optocore links, a pair of SANE Cat-5 extension ports, two LAN ports and a third-party board integration slot.

A high channel matrix between

connectivity and LAN is also supplied, along with Word Clock generation.

www.optocore.com

Optimal quality from low bitrates

AIMING TO improve the quality of lossy, compressed audio, Orban is claiming its NeuStar Air2 codec pre-conditioner provides perceived audio quality of twice the effective bitrate. The codec pre-conditioner the sonic performance of low bitrate internet streams, HD Radio multicasts, DAB/DAB+ and DRM

channels.

The proprietary codec preprocessing engine has reportedly been tuned for operation at 24kbps, 32kbps, 48kbps, 64kbps and 128kbps rates with any codec

DESIGNED TO provide sonic consistency for FM radio stations with limited budgets, Wheatstone has created the FM-55e multiband audio processor. Incorporating the same features as the FM-55, the second generation model adds enhanced iAGC (intelligent audio gain control) in addition to an entirely new bass processing design.

limiter and stereo generator

enhancement and programmeadaptive L-R control for multipath mitigation.

Like the FM-55, the FM-55e fully supports the WheatNet-IP Intelligent Network and comes equipped with two analogue composite outputs, two SCA inputs, balanced analogue L/R outs and an AES digital out that can be switched to deliver either discrete L/R or a baseband 192 digital multiplex signal.

Running at 192kHz sample rate, the 1U device houses a front panel OLED display and offers GUI navigation.

Existing FM-55 owners can also update their current unit with the new FM-55e software free of charge later in the year. Following its acquisition of PR&E, the broadcast manufacturer has also introduced the PR&E DMX AoIP console line for on-air and production applications. The standalone studio system combines a console surface and IP audio network routing for two- or three-studio facilities where each studio can act

including HE-AAC v2. According to reduces artefacts from lossy codecs and other low bitrate sources’.

www.orban.com

Waves mixes up its automixing tools

WAVES AUDIO is offering its Waves Dugan Automixer together with the Dugan Speech plug-in as a single bundled purchase. The Dugan Speech plug-in is for use with the Waves LV1 live

mixing console, while the Dugan Automixer can be used with other major live sound consoles.

Dugan Speech houses the Dugan automixer interface in a designated layer mode with the

LV1. For those without an LV1, it can be used together with the Dugan Automixer plug-in via the Waves Multirack plug-in host.

www.waves.com

either independently or together. Providing 1GB connectivity for most existing radio automaton systems using WheatNet-IP automation drivers, the DMX AoIP is all-inclusive and negates the need for an external Ethernet switch.

Available in an eight-fader (DMX8) or 16-fader (DMX-16) frame with four programme busses and bus-minus on every fader, the control surface incorporates a knob on each channel for adjusting pan, mode and input sources. As well as LED metering, built-in timer and four-event recall, other features include talkback and cue functions together with control room, studio and headphone monitoring. The console surface is available with a 1U DMX mix engine and Razor I/O module, which both include 1GB Ethernet ports and RJ-45 connectivity.

Lastly, version 7 of Wheatstone’s Vox Pro software has now been made available and offers a new signal processing toolset that lets talent clean up phone calls for on-air presentation. The new ClipCleaner toolset includes spectral display, parametric EQ, de-esser, compressor, expander, limiter and noise gate for processing channels independently or jointly. With a GUI derived from Wheatstone’s ClipCleaner toolset includes a standard library of presets for fast setup.

www.wheatstone.com

Optocore application engineer manager, Maciek Janiszewski shows off the SFX7 at PL+S 2017

The PC-AD2 PCIe half height card

The FM-55e

Consistent audio at a comfortable price

Evolution Series Evolution Series

A series of high-intensity touring and installation loudspeakers, engineered for even coverage, outstanding control and unforgettable audience experiences. Now featuring the recently launched Evo 7T mid-high and Evo 7TL-215 mid-bass speakers

Dante makes it on Broadway

THE DANTE Broadway networking chip has been designed for midchannel count audio products and is available in 8x8 and 16x16 channel versions. Dante developer Audinate states that it is ‘ideal for adding Dante audio networking to products such as small mixers, interfaces and conferencing solutions’.

Combining the small form factor of Audinate’s Ultimo products with several features from the Brooklyn

II

support. Redundancy is supported availability applications and a range

Astro keeps track of performers

ASTRO SPATIAL Audio has taken the wraps off its second-generation Stagetracker solution. Stagetracker II is the result of collaboration with Norway’s TTA. The new engine is stated to provide ‘previously unseen degrees of precision’ together with vector-based tracking in all three dimensions.

Tracking data comes from discreet RFID tags that can be placed on individuals and transmit to RadioEye RF receivers with an accuracy of 2cm – enough to

d3 adds 2x4pro

A SCALED down version of Technologies 2x4pro is the latest addition to the pro series. The new server supports the manufacturer’s interchangeable VFC (Video Format Conversion) cards, enabling users to drive up to eight outputs as DVI, 3G-SDI or two DP1.2 from a single d3 2x4pro. It also features a dual 10Gbit/s media network and 2TB of ultra fast solid-state storage chassis with the same rugged connectors to be expected from d3s pro range servers,’ explained product development engineer, Thyge Haarberg. ‘The system has decoupled sensitive components and a new ruggedised VFC backplane offers increased stiffness and reliability.’

www.d3technologies.com

enable the system’s use for lighting and video in addition to just audio. Up to 100 tagged performers can be tracked with each tag able to transmit up to 100 positions per second.

The Stagetracker II and Sara II engines have been designed to complement one another in the rack, both with 2.8-inch front-panel touchscreens for operation. The Sara II engine can accommodate up to 64 MADI or 128 Dante

of control interfaces, including SPI, UART and GPIO. Dante Device Protocol, packet bridging and AES67 are all supported, while seamless connection to a Danteenabled audio product is promised.

‘We are pleased to add Dante Broadway to the range of solutions we offer, giving OEMs a costeffective way to add Dante to midtier channel count products,’ said David Myers, COO of Audinate.

www.audinate.com

Barix talks Linux

of which are assignable to at least 32 audio objects. Stagetracker II communicates with Sara II via Open Sound Control (OSC), and

Roland keeps us updated

can reportedly link to any Artnetequipped lighting console.

www.astroaudio.eu

software on a PC or Mac, as well as support for providing a size picture in picture window in addition to the previously available ½ and ¼ sizes.

Additionally, the RCS software functionality for titling creation and keying capabilities for live production and streaming on both the VR-4HD and V-1SDI. ‘Still-store capability has been a popular feature request from users, and we are excited that we can provide this capability and also a powerful and easy-to-use image and title editor,’

THE BARIONET 1000 universal programmable I/O device for IP-based control and automation programmable in Linux using the Open WRT framework. It is also the wireless support and a USB port. The manufacturer opted for Linux to give systems integrators and OEMs a clean slate to program the device for almost any control or automation application desired. ‘The beauty of this device is that it has real computational power inside,’ said Reto Brader, Barix’ vice president of sales and marketing. ‘You can develop the program in Linux Open WRT and load it onto the Barionet 1000, and the device can make software-

ROLAND HAS released a Version for its VR-4HD A/V and streaming

switcher and V-1SDI live video switcher. The update supports the capture of still images from the RCS

Sum of larger numbers

THE LATEST for DirectOut’s Andiamo series of audio converters provides a new summing feature that facilitates communication signals to be gathered from a larger number of devices, such as remote cameras.

Firmware version 6.4 can be downloaded from the manufacturer’s website and is compatible with the Andiamo 2, Andiamo 2.XT and legacy Andiamo and Andiamo.XT systems.

Following the download, users are

able to sum input signals onto four available summing busses, which

Remote control software’s routing matrix. Each routed signal is summed to the same signal level and to avoid clipping, an individual master level is applied to each bus that can be reduced in 6dB increments. The bus output can be routed to any output on the Andiamo unit in use. The summing feature also enables demanding measurement activities

proav.roland.com

Physically, the Barionet 1000 has two USB host ports, one 10/100 Ethernet port, one DB9 RS-232 serial port, Wi-Fi 802.11 b/g/n 2.4GHz wireless connectivity, and is IPv6 capable. Requiring a 9-30VDC power supply, the device is encased in a Barionet Din-Rail case with two relay outputs, four open collector (digital) outputs, and has eight contact closure inputs, four of which are analogue capable. The Barionet 1000 also DRAM, and an interface for a Dallas 1-wire 18DS20 temperature sensors.

www.barix.com

to be completed. Correlated input signals divided across multiple analogue inputs can be summed to increase the signal-to-noise

ratio, when the bus master level is reduced.

www.directout.eu

module, Dante Broadway reportedly offers latency as low as 0.25ms as well as Gigabit Ethernet

Audinate has launched Dante Broadway

RCS software for VR-4HD

The Stagetracker II Core and Net

Connected projection

EPSON’S 3LCD EB-2000 family features an in-built light-optimising sensor which detects environment brightness levels and automatically adjusts the projector brightness for model delivers up to 5,500 lumens with

Connectivity to smart devices and laptops include an MHL-enabled HDMI input for mirroring Android mobile devices in addition to HDBaseT support

The Miracast function enables screen mirroring with wireless transmission of full HD A/V from compatible smart the projectors come with multi-PC projection capabilities for connecting up to 50 terminals through a host PC

from smart devices and laptops can be

code function enables connection by scanning a projected QR code, whilst a remote control function is also built into iProjection for controlling projector

Equipped with a built-in camera, the projector provides automatic vertical and horizontal keystone correction and adjustment in real-time which enables the projector to display the corrected image less than a second

Furthermore, the split screen feature enables input from two different sources to be displayed side-by-side on the same screen in video conferences allowing contents and participants to be

44mm thick, the EB-1700 series

Celebrating 15 Years of Making the World Sound Better

lumens, all the projectors in the series

Once again the series offers split screen and real-time automatic vertical and horizontal keystone correction and

www.epson.com

SAM has a new Vibe

AS THE demand for user-generated news content continues to rise, Snell Advanced Media has introduced Vibe, a real time production solution offering a scalable combination of media storage, production tools and is designed to blend the agility of sQ

IT storage platform, allowing for input from any device to be distributed to

‘The challenge for content providers is to meet demand for content anywhere,’ said SAM EVP and GM, media software solutions Neil integrated single platform approach

to creating and distributing content

orchestration layer dubbed the Vibe Core, which is able to control media no in its original format, while packaging Vibe also offers three types of user interface: Creative applications, providing a choice between SAM’s Rio editor or Adobe Premiere; Browserbased editing, which allows use of the SAM Go! Editor from anywhere with an internet connection; and PAM

www.s-a-m.com

Epson EB-2065 projector

“We have bucked industry trends and broken industry standards to find the best possible audio solutions both analog and digital. We don’t simply gauge our system’s performances on published specifications; we gauge it by the smiles on people’s faces.”

George Krampera Founder, Chief Engineer, Legendary Pro Audio Pioneer

Klotz ais offers customisation

CUSTOMISATION IS key for Klotz ais with its Misset Modular Interface System. The solution has been designed to provide users with an XLR splitter which will a 32-channel splitter into only 4U and 150mm depth. Inputs/outputs are split in a ratio of 1:3 while signals are reportedly unimpaired and transmitted one-to-one. The product is supplied as individual components for user assembly but can be built and electrically tested by the manufacturer.

Away from customisation, the German manufacturer has also

unveiled its Vintage ’59 Pancake Patcher cables. These have connectors in a classic look and feature a textile jacket around copper spiral shielding.

Staying on the cable theme, its catalogue with a plethora of options. The OL22P OmniLIVEPUR - AES/ EBU Multicore Cable is aimed at live applications that need to transmit AES/EBU signals over long distances. The VD083LP has a 6.1mm external diameter and is suitable for transmission distances of up to 70m. The Premade DMX

and AES/EBU series have been redesigned and includes the DMX5N1PBD and DMX5N2YSD that cover transmission distances of up to 80m.

Another redesigned series is the Hybrid Cable range. This includes

the H3W33ET Hybrid Cable Drum System which offers two RamCAT network lines, two AES/EBU or DMX lines and a 3G2.5mm² power line. The IP67-rated SmartBeam Quad Mini is compatible with connections like the Tyco Pro

and attenuates signals

THE ISOACOUSTICS

Iso-Puck has been designed to provide pro audio speakers and acoustic isolation. The round isolator has a height of 3cm going down to 2.5cm, a diameter of 6cm and each has a weight bearing capability of 9kg. Multiple IsoPucks can be combined to support the weight of particular products.

According to the manufacturer, the multipart isolation construction of the Iso-Puck allows it to move to isolate and manage the energy.

on the top which adheres to the speaker or top surface, as well as

adheres to the supporting surface, with a sliver ring around the bottom of the isolator to maintain shape.

www.isoacoustics.com

RADIAL’S LX-2 passive line splitter and attenuator has been designed to allow signal sources to be sent to two destinations at once with the ability to attenuate the input signal and tame hot outputs via a mixing console or mic preamp and without noise. Constructed from 14-gauge steel, it is built to ensure reliability during long tours. With a compact footprint and allowing up to eight units to be rack-mounted using Radial’s J-Rak, LX-2 delivers both Jensen transformer-isolated line level splitting and attenuation.

Radial’s LX-2

Middle Atlantic goes big with vertical mount

MIDDLE ATLANTIC Products is describing its VWM series as offering ‘the industry’s highest capacity in a vertical mount’. Available in pre-

cabinets reportedly provide vertical

mounting of deep equipment as well as small devices.

VWM offers multiple positions for vertical mounting. These include range of sizes that can be mounted where needed within the cabinet’s

back pan design. The system also employs the company’s Lever Lock tool-free mounting system, allowing the integration of small devices throughout the cabinet’s back pan or inside the front door. The manufacturer states that VWM

Tasker screens out interference

ITALIAN MANUFACTURER Tasker is currently promoting its line of cables featuring Carbon Screen Technology. All of the cables in the family feature an internal carbon sheath designed to provide greater shielding against signal loss and interference. Starting with the smaller, the family comprises the C300 and C285, which both have a 6mm overall diameter with a nominal section of 0.22mm2 and 0.5mm2 respectively. Due to reportedly well-suited for live event use.

Beam Mini and Telecast MX – at transmission rates of up to 4 x 10GB/s. The Ford Patch Cables for short distances of up to 20m are available with LC and SC connectors and as multimode or single-mode cables.

Finally, away from cables the German manufacturer’s StraightLink SLW series stageboxes have been upgraded to offer laser engraved numbers and optimised fanout lengths. From 12 channels and up, the fanouts feature a drop bus grip as strain relief.

www.klotz-ais.com

delivers optimal thermal management, cable integrity, and power distribution while providing a secure location for components of all sizes.

www.middleatlantic.com

Intended for studio use as a result of their very low attenuation, the TSK1031 and TSK1032 feature a 7.2mm diameter with a 0.5mm2 nominal section. Internally, the TSK1031 features the Carbon Screen with a spiral shield, while the TSK1032 comprises the Carbon Screen with a braided shield.

Recent advances in manufacturing have allowed Tasker to bring the Carbon Screen Technology to longdistance applications up to 500m with a stated 0dB loss. This has resulted in the introduction of the TSK1026, which features a 6mm

An XLR/TRS combo jack input facilitates the splitting of balanced or unbalanced line level signals. The Jensen transformer maintains the quality of the frequency response and phase coherency and isolates the two XLR outputs, reducing ground loop noise, which is further reduced by ground lift switches on each output. The trim control, meanwhile, enables the attenuation of overly hot signals and is activated by a recessed ‘set and forget’ switch.

www.radialeng.com

diameter and nominal section of 0.25mm2 together with the Carbon Screen and spiral shielding and the TSK1028, which has a 6.3mm diameter and 0.35mm2 nominal section together with the Carbon Screen and braided shielding. All of the Carbon Screen cables are customisable with different kind public installation, PE or PUR for outdoor installations with or without metallic armour in case of the presence of rodents.

www.tasker.it

The Misset line is taking the customisable approach

Multiple Iso-Pucks can be used to isolate specific products

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Corporate meets rock ‘n’ roll

for the 120m long audience area were covered by two K2 positions and a further pair which used Kudo cabinets. ‘Cables had to disappear so this involved some pretty serious cable management,’ recalls Nadeem Ali, Delta’s system technician. ‘It was worth all the effort. The set was extreme with large IMAGs at each side so PA cables would not have been a welcome addition.’

On stage, the monitoring system consisted of two pairs of wedges while eight of Delta’s newly purchased X12 cabinets looking after the stage and patch fell to Richard Callin. Shepherd and monitor engineer Rob Waite both opting for DiGiCo SD7 consoles. Three full SD racks were used to pick up racks could be placed in remote areas like video which also provided inputs for the show. Discrete mixes for record and monitoring were also sent to video.

THE OLD ADAGE IS THAT WHILE ROCK ‘N’ ROLL GRABS the headlines, for rental companies it is corporate events that keep the lights on. Every now and then though, that line blurs and you get a corporate event with all the production values of a large scale concert.

Taking place over two days at the Dubai World Trade Centre and attracting a large and boisterous crowd, The Forever Global Rally comfortably sits in this category. ‘The Forever Global Rally is a corporate event dressed-up like a rock concert,’ says Nick Woodward-Shaw, vice president, global events at Forever Living Products International. ‘We love to push the boundaries, challenge our creatives and search out cutting-edge technologies and equipment that can allow us to deliver an “experience like no other” for our international business owners.’

With 12,000 guests from 100 countries attending the Global Rally, Forever Living sought the assistance of a variety of local rental companies to ensure that the event ran smoothly. ‘We called upon the best technical suppliers in the Emirate to support the production,’ states Mr Woodward-Shaw. ‘For audio, we relied on Delta Sound and they delivered exactly what we needed, providing cutting edge equipment and a high quality service.’ The event itself was theatrical in nature, comprising elements the right comms system, a job that fell to FOH engineer Dave Shepherd. ‘Communications for this theatrical extravaganza Woods. ‘It was imperative to ensure all departments could video cues.’

To meet this need, Delta supplied a Clear-Com Eclipse Median matrix system. ‘With a majority of the operational team using

12 key panels, this gave us the ability to re-program and adjust volumes remotely,’ explains Mr Woods. ‘Room noise was potentially an issue, so a majority of users opted to use the David Clark isolating headsets, while others stuck to the ClearCom CC400 units. A further 20 Freespeak II beltpacks were used, along with 20 packs of the HelixNet digital partyline.’

With the comms side covered, the next challenge was to design the main audio solution – a job that once again fell to Mr Shepherd working closely with Delta’s Bob Turner and Mr Woods. ‘Enthusiastic crowds make a lot of noise, so naturally the audio reinforcement had to be substantial enough to compete, yet give extremely high intelligibility,’ notes Mr Woods. ‘It was

CAD, schematics and Sound Vision. It was complex but all there from the get go.’

The main PA was formed of arrays of 10 L-Acoustics K1 a side

landscape end to end under the front of the stage. Delays

system,’ furthers Mr Woods. ‘Sharing racks but allocating derive mixes and feeds from each end of the multicore. ‘The busy show meant everyone required dedicated headset mics and IEMs,’ he continues. ‘Rob’s SD7 was the right surface for the job, generating over 40 discrete mono and stereo mixes for IEMs and stage monitors.’

As would be expected at a large scale corporate event, speech was a priority. As such an extensive mic package was put to use. needing individual frequencies,’ says Mr Woods. ‘The hardware was a combination of Shure UR4D and Sennheiser 9000 and 2000 series systems. Mehdi Khelil and Mahesh Ramdin were charged with the task of managing the RF and the distribution of all of the mics and IEMs.’

In addition to the live performances and speeches, playback played a large role in the show. Steve Roberts facilitated this armed with a DiGiCo SD9 which was used to sub mix all of the sources into the main SD7 via a UB MADI.

While the technical setup was certainly at the higher-end of the scale for corporate events, it is one of the less glamorous factors that stood out most for Mr Woodward-Shaw. ‘In addition to the main PA and support systems, Delta Sound also provided crew communications. This often-overlooked service is absolutely critical to the delivery of a brilliant event and, in Dubai, we experienced the very best crew communications in

Corporate events are not always the most enjoyable aspect of a sound engineer’s working life, but when done well they can certainly be rewarding.

www.deltasound.ae

With a high-end PA, complex comms system and a crowd of 12,000, The Forever Global Rally presented Delta Sound with the same challenges as many concerts. James Ling reports

Shure and Sennheiser wireless systems were called into action; DiGiCo SD7 consoles were used at FOH and monitors; 84 individual transmitters and receivers were deployed for the event; The event required a large crew communication system

The main system was K1 with Kara fills

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©2017 Renkus-Heinz

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

Setting new standards

STOOD AGAINST THE RAILINGS JUST BEHIND FESTIVAL CITY

Mall on a warm Sunday evening Pro Audio MEA can feel the increasing sense of excitement amongst the steadily growing the evening’s performances of Stardancer is about to take place. underway. Eight minutes later we have witnessed a remarkable combination of surround sound, lighting effects, the world’s largest water screen projection, lasers, pyro and the world’s largest permanent projection mapped building. There is a moment of silence as the audience processes everything it has just experienced, before a gentle applause as the spectators disperse back into the mall.

While everyone else is keen to get on with their evening of shopping or to pull up a table at one of the restaurants encircling the Festival Bay performance area, PAMEA is eager technology is powering it.

The origins of the performance date back to 2015 when AlFuttaim Group Real Estate (AFGRE) commissioned Laservision Mega Media to design, create, install and maintain a ‘360° spectacular that would establish a new benchmark for tourist attractions around the globe’. The result is the centrepiece of a space called Imagine at Dubai Festival City which spans over 20 acres across the rear of the mall around the bay and over to the InterContinental hotel.

‘AFGRE approached and commissioned Laservision after

witnessing our previous permanent tourism attractions and installations around the world,’ explains Matthew Tuey, marketing and creative concepts manager at Laservision Mega Media. ‘The vision for us was to assist with the transformation of the once existing marina and bay into a modern entertainment venue open to the public and able to not only function as a stage for our incredible Mega Media productions, but provide ambience and activations during all operating hours of the mall, as well as the capability to allow cross-branded events.’

With a brief of establishing a global benchmark for tourist attractions, the Laservision team knew it would need to make a major statement. To do this, it decided to create recordbreaking projection areas. ‘The combination of the world’s largest water screen projection and world’s largest permanent

proposal stages as a goal,’ recalls Mr Tuey. ‘Dubai is known for some of the largest and most audacious engineering projects in the world, it made sense to follow suit and reach for the stars with this project.

‘And it wasn’t only for bragging rights and case study purposes, we found that it provided our world-class creative team a super large stage to work with,’ he continues. ‘We were able to expand the already large 240m diameter bay’s performance area onto the InterContinental as well. The productions can take on more depth and scale when you involve a projection surface larger than 12 standard IMAX screens. Every audience member can feel immersed in the show no matter where they are in Festival Bay. It’s a true 360° experience.’

the equipment that is capable of achieving it is quite another. ‘First and foremost, any equipment that is selected to be integrated into one of our installations needs to be both powerful and beautiful,’ says Mr Tuey. ‘The scale of our Mega Media productions is just that, mega. Audio, lasers, lighting and so on need to operate in such a large space that it has to be powerful and precise. Another major factor in our selection and strict requirements is that it needs to be reliable. Our permanent tourist attractions operate 24/7, 365 days-a-year conditions. Sand, extreme temperatures, saltwater and wind were all factors that were taken into consideration for our risk

Festival Bay has been transformed with the kind of record-breaking spectacle that Dubai has become famous for. James Ling takes in the show

Projection mapping is handled by 60 20K Panasonic projectors

assessment of equipment.’

On the audio side the decision was made to go with an ElectroVoice solution to create a 5.2 surround system covering the space. Towers with sculpted metalwork have been strategically placed around the edge of the bay. These each house a pair of EVF-1122S full range speakers for the main system plus providing low-end support for the system. Firing down from the as rear subs. Completing the surround setup are further EV cabinets for the centre, left and right effects speakers located in the centrepiece and towers.

programmed by our proprietary suite of media servers,’

FEATURES:

and pumps,’ he continues. ‘We had to customise and provide further protection to these assets in the extreme conditions

are outside everyday conducting inspections during early morning

success rate with our 365 day-a-year shows. Our M&O teams as well as our engineers are a big part of making that happen.’

Stardancer

to provide better coverage and a more immersive experience with the 5.2 as well as other minor adjustments prior to the second show, A Child’s Dream, which set further records with its

Control for the system is via Laservision’s proprietary audio and media servers and a Yamaha TF3 console located in the control room on the roof of the mall overlooking the space while

such as additional inputs, converting analogue to Dante, routing the subs, but also controls groups for each area.

One of the vital aspects to get the audio side of the project under control and integrated with the visuals was networking. ‘Dante is pivotal for our audio systems,’ states Mr Tuey. ‘With such a large area of distributed audio, cabling can quickly get out of control as long runs of analogue cable add to cost, bulk and installation limitations. As the majority of our installations server hardware easily and effectively.

Server and other suites of media servers out of a necessity. gigantic media through-put, storage needs, and control system requirements that we required for the types of shows we install and produce. Our government approved R&D team set out to create an impressive suite of hardware and software that was now have the ability to program, control and playback content of any kind within our shows and control, not only video, but every asset that we use within our attractions, ready to play at the push of a button.’

As would be expected with an outdoor show in the Middle East, it was environmental conditions that provided the biggest beyond with our installations to make equipment last as long as possible in permanent operating conditions, Dubai brought its must throughout many of our media and control rooms. From the

mapping, right on down to each individual media tower with electronics. Getting air conditioning to perform reliably and

‘Water asset reliability was also a challenge as saltwater, barnacles and sediment can pose a large problem to fountains

Tuey. ‘The opportunity to add additional new technologies as the property matures, install new productions and activations, and respond to the client’s needs as more and more tourists visit Dubai means that we get to continually expand on the shows and push the boundaries further. Even though we’re very happy and proud of what was built and programmed, we’re excited to keep tinkering and building up the Mega Media attraction over the years.’

canvas of this scale are anything to go by, Festival Bay should continue to pull in the crowds for a long time to come.

www.laservision.com.au

In the Laservision control room for A Child’s Dream

Rear left and right speakers fire down from the mall

Electro-Voice X12-128 dual 18-inch subs provide low-end support

The team pays particular attention to ensuring its water-bourne assets remain in good condition

INSPIRED BY THE SPORTS BARS MADE FAMOUS IN THE USA, Stars ‘N’ Bars on Abu Dhabi’s Yas Marina Circuit takes a page from the books of Hard Rock Café and Planet Hollywood. Autographs and memorabilia of some of the world’s top sporting

But it is not only collectables adorning the restaurant’s walls, and wanted to emphasise the sound system as part of the entertainment,’ says Stars ‘N’ Bars general manager, Randolph Hernandez. ‘We were looking to start booking top DJs and to day and, being a sports bar, for all the big games and sporting

Seeing stars

Bringing audio to the front of its entertainment refurbishment. James Cooke visits

care of loudspeaker management.

‘Placement of speakers was carefully designed in key of the rooms in order to create a stereo sound effect in the areas used by guests,’ explains Mr Williams. ‘Proper location

which could affect the way the sound was dispersed, so it was important that the designed plan was followed precisely.’

This brought Stars ‘N’ Bars into contact with the British manufacturer’s local distributor and systems integrator Em-Tec. area outside and a restaurant area. Together with the client

own custom analogue stage box. The systems integrator also

Audio is played throughout the indoor restaurant area by

They gave me the basic training on how to do all the setups and then I learned a lot from YouTube and manuals and by playing around until I got the hang of it. So now I do all of the sound engineering for all of our live music.’

Although he possessed prior sound engineering experience, the Stars ‘N’ Bars general manager was grateful for the tutelage. ‘I used to help bands with their setups at all the different venues that we used to go to,’ he remembers. ‘It was just a bit of a learning curve using a digital mixing board, especially something like the Midas because I had no prior experience with a digital board and so many channels. The Midas is very high-end and a lot more complicated than the 15-channel desks I was used to. ‘Em-Tec also supplied us with all of the amps, the drum kit

and DJ equipment as well,’ Mr Hernandez adds. This includes a Pioneer DJM-900SRT DJ mixer and a pair of CDJ-2000NXS2 multi-players. Lighting was provided in the form of PixieBeam, as well as a Nicolaudie Stick DE-3 DMX touchscreen lighting console and an Antari HZ-500 haze machine.

‘Another thing that we have is a BYOD technology we found called Audio Anywhere,’ notes Mr Hernandez. ‘With this system you can listen to any audio from any of the 76 television screens across the entire venue from your mobile phone. So if the commentary from the game that you want is not on, you can open up the free app, tune in to our venue and from there you can choose up to seven different channels of audio programming depending on what’s on the TVs or what’s coming from the stage. And we have headphones that we provide, as well as docking stations that allow guests to plug in their phone and turn it into a small speaker for everyone at their table to hear.’

Stars ‘N’ Bars rightfully considers itself as an A/V-savvy venue. The concept is inspired by the sports bar of the same name in Monte Carlo, and brand expansion is in the works.

‘We’re opening a location in Dubai by the end of the year and next three years,’ reveals Mr Hernandez. ‘Two in Dubai in the next two years, then we’re looking at Qatar, Bahrain, Oman, and once we’ve saturated the Middle East, we’re looking to go

international: Asia, Europe and eventually the United States. ‘I worked mostly with Andy at Em-Tec and we speak the same out for the audio system for us in Dubai. The sound system here in Abu Dhabi is great and it’s a big part of being able to have a great ambience. Even when the volume is not up high, you can hear clearly and even when the DJ is playing or a band is rocking out, we never hear any kind of distortion and that’s a big deal to us. The system has also been integrated with all of the managers’ mobile phones so we can adjust the volumes of zones and televisions easily.’

As a client, Mr Hernandez and the Stars ‘N’ Bars team are clearly impressed with the quality of the installation, the ease of use provided and the service from Em-Tec. Mr Williams is One speakers are known for their reliability and longevity,’ the Stars ‘N’ Bars in creating a fantastic ambience for guests.’

www.emtecav.com

www.funktion-one.com

www.starsnbars.ae

F101s serve the outside lounge area

Audio Anywhere allows patrons to tune in to the commentary from a particular TV

The BR218 sitting beneath the outdoor DJ booth

Fuelled by A/V

FINDING A CAPTIVE AUDIENCE IS BECOMING INCREASINGLY challenging for advertisers. The variety of media available to consumers means that there are fewer guarantees that your message will be seen. Enoc is looking to capitalise on this paradigm with its new breed of petrol stations.

Traditionally in Dubai you remain sat in your car while an audience and digital signage can provide the perfect way to reach them. ‘Petrol stations have a very high dwell time and that is what advertisers and brands are looking for,’ states Nita Odera, business development manager at Blue Rhine Industries, Enoc site. ‘If you are launching a product or a campaign, this is the ideal place where you have captured an audience for 10 minutes. Enoc wanted to capitalise on that.’

The technology employed on the forecourt sees four custom designed LED screens, OEM manufactured under the Blue supporting the canopy. Each screen has a perforated panel to the top and bottom allowing access to the installed Aopen media player running Ryarc digital signage software.

‘One thing we needed to consider is that there is no air-

James Ling

conditioning for any of the screens we are using and it is going to get very hot here in the summer,’ says Blue Rhine Industries director, John Joseph. ‘Keeping that in mind, the screen we are using is custom made for this weather. It can withstand the heat that we are expecting.

‘The cabinet behind the screen is IP67-rated,’ he continues. ‘There was a safety concern about the fumes getting into the screens which is why we were very particular about having our enclosure fully IP-rated. We had two weeks of intense meetings to work through the safety aspects, particularly on the columns. There were a lot of security issues that we had to work around, but our team did an excellent job. We had two months to work out all of the structural details.’

‘We were working directly with the engineering team from Enoc, who are highly experienced on all aspects of the gas station’ adds Ms Odera. ‘They required a lot of information so we had to produce incredibly detailed drawings, even down to the last nut and bolt. Fortunately we have a very talented technical team that were liaising with the engineers.’

While there were two months to iron out the structural details, the project needed to be delivered on a rapid timescale. ‘We had one week to complete the installation,’ recalls Mr Joseph. ‘It took four days to install all the hardware and we dedicated two days

‘One advantage that we have is we do all our structural work in-house,’ he continues. ‘We come from a background of manufacturing static signs so we have a full metal fabrication division and a full structural engineering team. That was the only reason we could do this project in such a short time. They gave us an empty column with nothing and all the metal framework that surrounds it is manufactured in our factory. We had about half a tonne of screens air-freighted straight from our manufacturer for the installation. Everything was already

just the matter of putting them up in the right sequence.’

While the outdoor screens provide a unique element to the project, it was not the only area of the petrol station to be equipped with digital signage. The waiting room of AutoPro

also features a screen because there is a high dwell time as people wait for their car to be serviced or cleaned. Equally, the forecourt-facing wall and interior of the convenience store have also been installed with bespoke screens.

‘A 3.1mm pixel pitch curved screen runs the full length of the convenience store,’ says Mr Joseph. ‘Our curved modules are different from our straight modules. About 30% of the convenience store required curved, most of it is straight but we decided to use the curved modules even in the straight areas so that we would get the same colour temperature and using the either run one piece of content across all of the screens or split them into four sections.

‘One big challenge we had was to get the right curve,’ he continues. ‘One area was very tricky for us as it is a very sharp We extended the framework to come out more so the screen will

With everything installed on time for the inauguration, attended week of operation handling the content and training the Enoc team on how to use the system. Following this it is now a case of waiting to see if the A/V experiment has been successful. ‘This is their pilot gas station and from here they will roll it out if the concept is successful,’ says Mr Joseph.

With the captive audience to suggest it should be, digital signage could become a much more common sight on petrol station forecourts.

www.brisigns.com

Blue Rhine used its curved modules for the whole of the store

The Business Crossroads of Music, Sound and

The Music Begins Here

Taking the Silkway

THE RETAIL MARKET IN KAZAKHSTAN IS CURRENTLY evolving at a rapid pace. Seen as an indicator of the country’s diversifying economy, there has been a marked move away from traditional bazaars towards large, mall-style shopping and entertainment centres. Taking centre stage in this movement is the latest development from Mega, the country’s largest mall operator.

Opened for the Novruz national holiday and forming part of Kazakhstan’s Expo 2017 site in Astana, Mega Silkway is the largest mall in Central Asia and sits comfortably within the world’s top 100 shopping centres in terms of size. With a total footprint of 140,000m2 and spacious atriums taking its height to almost 25m in places, the mall and entertainment centre increased wealth.

As you would expect, on top of the retail outlets the mall offers a variety of options designed to keep the whole family entertained. Its 5,500m2 food court features every kind of restaurant imaginable while its cinema complex boasts the largest screen in Kazakhstan. On top of this there are a variety of entertainment facilities such as an ice rink, an indoor rollercoaster, a trampoline park and an outdoor Ferris wheel.

Having worked with the Mega chain on its properties in Almaty, Audac distributor Stepline was asked by the mall owner to design an audio solution for the new Astana venue. As such, it created a large-scale BGM solution calling heavily on the Belgian manufacturer’s products. ‘Renaissance Construction from Turkey (the core construction operator for this project) was responsible for the installation,’ explains Oleg Ten, project leader for Stepline.

‘Our team was in charge of the project design and equipment selection as well as the general deployment and tuning of the system. Our task was to provide a high-quality and even sound coverage throughout this gigantic space while also complying with government requirements for safety in public buildings.’

The system went through a number of revisions to ensure it met the needs of the mall. ‘There were four versions of the project

version with slight changes in speaker positions according to the

‘The mall is divided into 24 zones which have been grouped to include technical and service rooms, the boutiques and common use areas such as the food-court, playgrounds and corridors,’ he continues. ‘The technical and service rooms have been set up for voice address only, the boutiques all have the opportunity to have their own BGM system which has been integrated into the mall’s public address system for emergency messages and there is a general BGM system and voice announcement system covering the common use areas.’

One area of the project which particularly stood out for Mr Ten was the challenge presented by the food court. ‘The 5,500m2 food court has a ceiling height of 15m and required special attention. Due to its size, this area has been divided into three subzones. That made it possible to set signal taps on the Audac M2 matrix systems to keep the sound clear and audible over the whole food court.’

Providing the output to the 24 zones are more than 1,500 Audac loudspeakers, including over 700 WX302/W 3-inch wall speakers and a further 305 CS424 ceiling speakers. ‘Audac

An extensive Audac solution has been deployed to deliver the BGM for one of the Simon Luckhurst

Mega Silkway is the largest mall in Central Asia

Oleg Ten, project leader for Stepline

More than 700 WX302/W 3-inch wall speakers have been installed at the mall

cabinets offer a great combination of clear sound reproduction, compliance

parameters and an affordable price, which was what this project needed,’ says Mr Ten. ‘We used only two-way Audac speakers for clearer voicing. In zones with challenging acoustic nuances such as the food court we decided to increase the number of speakers. This allowed us to lower the volume of each speaker and obtain even sound coverage and speech intelligibility.’

While the quantity of speakers ensured the project was the most valuable of any secured by the Belgian manufacturer’s distributors worldwide, it was not the only part of the signal chain it supplied.

The boutiques have been equipped with Audac ATU44MK2 universal input adapters, which allow the stores to switch between the general mall BGM and their

own unique source. Meanwhile, a pair of APM116MK2 digital paging mics installed at the reception desk and control room respectively allow for announcements.

Serving as the brains of the solution, the aforementioned M2 digital matrix systems have been installed to provide the DSP tuning the system. ‘Total system control is through a local area network,’ explains Mr Ten. ‘After the grand opening, the engineer responsible for the audio system monitored the whole shopping center for zones and looking at the volume and speech reproduction. After this analysis, the sound engineer spent a day working with the M2 interface software to carefully tune each of the 24 zones. Following this, all of the settings have been saved and the system is tuned according to the everyday life of Mega Silkway.’

The installation itself saw three shifts of staff from Renaissance working around the clock to meet the Novruz opening deadline. However, the challenges presented by different teams working on the same project did lead to the main complication. ‘The teams from Renaissance worked on the installation of the speakers on site,’ recalls Mr Ten.

‘Unfortunately due to a lack of coordination between the different groups, some of the Audac speakers had different power taps selected. As soon as this was discovered, all of the ceiling speakers were checked.’ A further challenge saw

the Stepline team spend three days soldering 400 XLR contacts to ‘optimise the rack installation and make it look more attractive’, furthers the project leader.

With the solution installed and tuned, a project of this scale has brought to Stepline. ‘Mega Silkway raised our professionalism and teamwork to a new level,’ he states. ‘It challenged our capacities and made us stronger to take on future ambitious goals.

‘Our deep knowledge of the system contracts with some of the major retailers within the mall, for example Inditex and Beautymania,’ he continues. ‘This project is the best reference for us to work with renters inside the mall.’

The most important factor though is the reaction of the Mega management to this

team can hear the same standard sound which they have in their Almaty shopping centres and this fully complies with the concept of creating an attractive atmosphere that Mega believes in.’

Having proved its capabilities on the largest scale, Stepline will be hopeful that the positive reaction it has had to Mega Silkway will lead to it winning more projects of this stature in Kazakhstan’s ever-growing retail sector.

www.audac.eu

www.stepline.kz

Audac CAP448 quad-channel amplifiers in the rack

Due to its size, the food court needed to be divided into three subzones

Flexible Concrete

LOCATED IN THE HEART OF THE AL QUOZ INDUSTRIAL estate, Alserkal Avenue has become the centre of Dubai’s contemporary arts scene. The area boasts more than its fair share of art galleries and performance art spaces as well as a private museum, but one aspect was lacking – a multi-purpose venue that could be the host for a variety of events.

2 collection of former warehouses that have been combined and accommodate any type of event it needs to. ‘The building itself is unique in both architecture and interior design,’ states Hassan Alwan, managing partner at Levels, the company responsible for a work of art, and a must see.’

being invited to bid for the project by the site’s main contractor and interior designer. ‘We were brought in early on to understand the client’s requirements through multiple data gathering workshops, and translate those into an audiovisual scope of

broadcast, wireless video broadcast, registration of the number

of visitors to the space and network/Wi-Fi capabilities.’ With no consultant involved with the project, the design fell to the systems integrator. ‘The building is not exclusively an art gallery, it is a multi-functional creative space that could be used for the purposes of art exhibitions, press conferences, corporate events and so on,’ says the managing partner. ‘The applications, whether they are background music or speeches. We therefore had to design a deployment that ensured we achieved high levels of clarity. This included the use of acoustic simulations, testing and equalisation of the audio and several

but this was not all in one complete stretch as various tasks needed to be completed in cooperation with other contractors. ‘The project had a tight deadline from the onset, which was a with the several different sub-contractors on site at the same time made it even harder to conduct our installation work. We had to work closely with the main contractor to ensure that

were technical challenges but credits the skill of his team in warehouse space with a high reverberation time was our biggest challenge. However, processing of audio outputs is our strong that is from a DJing, production or record label management perspective. We invested time in the processing of the audio to ensure that the output met our quality standards.

with,’ he continues. ‘Thankfully, we have two great assets in our and ensured that our quality standards were met.’

distributor for most of the products used on this project to ensure that the right products were selected for this application,’ gateway with software allowing remote data management.

systems integrator has learned some important lessons from involving the manufacturers and distributors in the design phase,’ he explains. ‘This will allow us to have a sounding board for the ideas we want to implement for our clients.’

With the venue now open and playing host to a variety of events, such as the Atassi Foundation’s Syria: Into the Light Alwan’s personal highlight has been seeing the design become a reality. ‘Nothing could be more satisfying than seeing it all in action on the night of the launch.’

www.levelsav.com

The latest addition to Alserkal Avenue required an A/V solution that could be as accommodating as the venue itself. James Ling

The site combines several former warehouses in the Al Quoz industrial estate

Four movable floor to ceiling walls create a flexible space

The ceiling height presented one of the major audio challenges

The loyal guard dogs all musicians need on stage.

Remote possibilities

ANY AVID FOLLOWERS OF THE FORMULA ONE GRAND Prix will know how strict the rules can be – yet every year they get stricter and stricter. Two decades ago massive 3.5L V12 muscle machines were piling down the track that over the tuned supercars. All driven by changes to the rules. And while that’s the side visible on TV, behind the scenes changing rules are also changing the way teams communicate.

Central to just about everything that happens in Formula One is Riedel. The German manufacturer has been responsible for handling race communications for the FIA, the Formula One governing body, for more than two decades. However, the setup deployed today bears little resemblance to the original. Part of this is down to changes in the rules driving new technology, but just as much shows how technology itself is changing the rules of the game.

Following the recent race in Bahrain in April, Pro Audio MEA caught up with Dario Rossi, head of Riedel’s Motorsport division, ‘Riedel started with one team of intercom,’ he explains. ‘At the time they were just trying to generate some communication between the garage and pit wall. Since then it has grown massively as there was a lot of interest from the FIA. ‘Nowadays,’ he continues, ‘we have six dedicated crew members supporting the teams directly, and seven people are working with the FIA on all of the infrastructure in terms of communications and distribution of data, GPS and video. Up to 15 Riedel engineers are onsite for each race.’

Over more than 20 years, the infrastructure deployed at each around the circuit capable of tying together all the necessary video cameras for broadcast and telemetry purposes, as well as critical communications required by the safety teams, emergency services and security personnel. ‘We’ve developed some software for managing the race, for example we log all the broadcast cameras (including the on-board cameras), the CCTV cameras, the pit lane cameras and the pit stop cameras that we put up ourselves. Plus we have the inputs for the telemetry of the cars and we synchronise all of them and record, so that when something happens it can be reviewed in realtime in FIA race

control. In this case the race director during analysis can change the view of the video, adding data and so on,’ he elaborates.

‘In case the race director decides to send the data to the steward room, a clip can be created and sent. There we have another operator that can show it to them, with complete access to all the data to help to decide whether to give a penalty or something like that. This has changed a lot in the last few years because obviously realtime viewing is key, but also the amount of data using HD inputs is always growing which creates a really big challenge.’

Riedel solutions handle all critical aspects of signal distribution on site, including everything from the more than 2,000 Tetra handheld radios distributed between the engineers, crews, drivers, safety and medical teams, to Artist Intercom matrix systems used by the FIA, the Formula One Management (FOM) – the body in charge of producing the broadcast feeds, and the teams themselves. Artist connects the FIA stewards, the pit crews and the drivers, with the signals that are then

its own data centre in Frankfurt that serves as the hub for its worldwide operations. Data is sent on from there to teams and broadcasters either at the circuit or elsewhere.

To give an idea of the scale involved, each team uses different panels per team. That’s a staggering 500 panels or more in total for each race, and more than 2,000 when you factor those also being used offsite.

So why route signals halfway around the globe before sending them back to where they originated? ‘Formula One rules state that each team is allowed 60 people on the track,’ answers Mr Rossi. ‘That includes all operational people from the team

Simon Luckhurst

Dario Rossi, head of Riedel’s Motorsport division

The 15-strong team of Riedel engineers working on the 2017 season togther with Thomas Riedel

principal to the mechanic – anyone who can touch the car. Over the last few years, these restrictions have gradually been lowered. To get around this and to help save on the cost of sending people,

‘Via an MPLS (a high-performance telecoms switching network) which runs on RiLink, the round-trip latency is roughly 10ms in Europe and about 260ms far away in Australia, including uplink and downlink,’ he furthers. ‘So in essence it is in realtime. That’s allowing people to stay at home and communicate with everyone else as if they were at the track. They’re still able to measure telemetries, work on strategies and perform simulations, etc.’

As there are not currently any rules about the number of remote crew allowed to work on each race, this can potentially give teams a sizable advantage and is only possible because of the millisecond latency achieved through RiLink. ‘Whether you’re behind the track in the garage or at home, it doesn’t matter for

Mr Rossi. ‘It’s changed the way of working a lot.

‘We did the same concept with the German F1 broadcaster RTL last year. They have a big MediorNet system at the circuit’s broadcast centre and we sent everything back to their on-track – a commentator, interviewer, two cameramen and a sound guy. For them there is a huge saving. They are more productive and it costs them less, so is a win–win situation.’

At the Bahrain GP, the local phone company Batelco provides the connectivity for the last mile to the track. ‘Bahrain was which goes out one week before the event. We come on Monday

start to test the MPLS. By Tuesday we are operational.’

With the complexity and critical nature of the Riedel solution, testing unsurprisingly becomes a much-uttered word during our conversation. ‘On Wednesday we start fail-over testing,’ continues Mr Rossi. ‘We have a complete way to connect up the

through the Atlantic Ocean, and we will simulate breaks in the sea cables to test how the signal automatically reroutes. We typically have two backbones that cover all of the world and they goes wrong, the customer never notices.’

The same level of redundancy is required for all aspects of the system, including the power and UPS. As our conversation is interrupted by connection problems with Skype, it serves as a useful highlight of the challenges at play.

‘We do also use Skype, with F1,’ laughs Mr Rossi. ‘We have our own Riedel Skype solution that allows for connection from teams that use it for conferencing just like a normal Skype call.’

These types of less critical connections can seriously swell system usage, however. ‘Sometimes you have 400 people connected to a team at the same time during a practice,’ explains Mr Rossi. ‘It’s an incredibly complex setup. We’ve handled more than 1,000 at one time before. It’s a lot! And all of those have to be handled with split-second latency and security.’

As you can imagine, with just seven days between races, shipping everything over and getting it set up in time is no small feat either. ‘The system has required a lot of development to make it easier, to save time in setting up. But making it

easier also means making it more advanced. However, this is necessary; because the timeframes involved can be incredibly tight, you have to schedule yourself well and really try hard to anticipate anything that you can. Problem solving is key because really acceptable for the team. You can’t really be reactive, you have to be very proactive.

‘Luckily the people here in Bahrain are very competent,’ he adds. ‘They are a very good group of people there with a lot of experience and they run a lot of events during the year.’

As the team packs away in mere hours ready to move onto is clear. Even after 20 years of working in motorsport and with all of the Riedel manpower at play, Mr Rossi’s job gets no less stressful. ‘Yes, I’ve lost all my hair,’ he laughs. But clearly it is still no less enjoyable.

www.riedel.net

The Ferrari team’s headsets arranged in the Italian flag

Checking the system at a test day in Barcelona

New beginnings

Parag Vadodaria, one of the best known James Ling

IT’S FAIR TO SAY THAT PARAG VADODARIA IS ONE of the most recognisable people in Dubai’s diverse systems integration market. Always quick with a smile

and an inspiration to many of the younger technicians working their way up through the local industry.

Having served as the driving force behind Zio Technologies for many years, Mr Vadodaria decided that in 2017 he would try something new. So as Pro Audio MEA sits down for a catch up with Mr Vadodaria at his new what this new challenge is.

‘Panacor is an upcoming enterprise specialising in systems integration – but one that promises to dramatically alter the

enter the market fully prepared to play the big game. Whether it

commitment needed to surpass every standard of service the

While the company has been established as a systems integrator, it is the focus on innovative services which Mr

sector; this year’s forecast is at US$222 billion, reaching turnover, software solutions will account for a whopping 84% as per studies by Gartner. The overlap between AV/ IT has been constantly increasing, the line between the two functions blurring over the last decade – and we must focus on innovative services and solutions that set one SI apart from another. Gartner forecasts that where hardware sales will increase at a rate of 1.7% yearly, demand for services will grow at compound annual growth rates of 7% to 8.6% until 2020. This is the sweet spot Panacor will dominate with our focus on innovative services in systems integration.

apart and make our mark,’ he continues. ‘Three quarters or

It cannot actually help our clients until the right algorithms are

sophistication of their algorithms and services and organisations will be valued on developing solutions that turn data into actions and have a positive impact on clients’ businesses.’

It’s clear that Mr Vadodaria has done his research and is pointing Panacor at the IT side of the AV/IT the new company, his reasoning becomes even more our key focal area for several reasons: deepening smart city initiatives and the Internet of Things will

will be the region’s manufacturing, transport, utilities and healthcare verticals. Security continues to be a key challenge and spending on threat management, compliance and security management will also be areas we aim to develop innovative solutions for.

growth according to every indicator,’ he continues. ‘We are equipped in every way to make the most of the opportunities

While the target markets and area of focus all make sound business sense and will encourage investors and potential clients alike, there is a further element to Panacor which Mr

we see of creating an entity that personally inspires us and leaving a heritage we can be proud of. We believe we have a

clients, employees or suppliers. It is the human element that keeps every business real and relevant, we will be investing in building a versatile team along with creating strong working relationships with manufacturers.’

the direction he thinks the regional industry is heading and wants to position Panacor at the forefront of this sector. More importantly though, it appears that he has been reinvigorated by the challenges and opportunities presented by founding the new company and is ready to make Panacor a success.

www.panacor.com

Parag Vadodaria

Panacor has opened in Motor City’s Detroit House

Fundamentals of enhanced audio production - part 3

Dennis Baxter has been a sound designer for international sports

IN THE LAST FEW ARTICLES, WE HAVE EXAMINED THE concept of what immersive sound is as well as some of the tools you can use to achieve spatialisation. In this segment, we will discuss practical application and implementation of immersive sound design and production. Fundamental principles of sound design apply to 2D productions – stereo and surround – as well as 3D production – immersive sound – because most sound designs are inherently trying to create a sense of dimensional space and perspective for the picture. Immersive sound clearly improves the authenticity of the production.

The challenge is how to use the additional dimension to contribute to the sound design and enhance the perspective of the production. Perspective is basic to any sound design and perspective certainly can be enhanced by the magnitude of the sound design and reproduction. For example, when you show the bobsleigh course from inside the bobsleigh, the intense sound from above, beside and fully around the listener completes the illusion of being inside the sled. This point of view (POV) of the athlete is an attempt to place the viewer closer to the competition. This method uses the surround channels and the height channels to reinforce the competition sound by moving some competition sounds to the sides, middle and above the Presenting the sound from the point of view of the spectator consideration and starting point for any two dimensional or three dimensional sound design. The POV of the spectator is a more traditional approach to sound design that establishes the viewer’s perspective from the venue seating while watching the event in front of them. This puts the sports sound effects in front of the listener and the ambience sounds around the listener. The use of the height channels to reproduce a sense of space above and around the event would seem to be the obvious designer is: what are those sounds above the spectators and how do these sounds contribute to the immersive experience? In most sports venues, the discernable sounds above the spectator would be the PA which includes chatter and music. However, audience adoption of immersive sound. For indoor venues and partially roofed outdoor venues, the listener really are. I have experienced situations where the sound above the spectators differs from what sounds you would expect or hope for. Mechanical noise and sound buildup are a event.

Each perspective appreciably contributes to the believability of the visuals and enhancement of the experience and each

Sound design is an evolving art and understanding how the height channel contributes to perspective is an ongoing process with discussion, mixing and listening tests.

Where do we start?

Film and drama have an obvious use for sound above the viewer. Weather, mechanical sounds or even effects are really above the ground action and contribute to the believability even though you may not see what is above. However, the obvious need for sound above the listener at a sporting event is subject to interpretation. I have heard 3D recordings of sports stadiums and understand the concept of being at the event, but most microphone sound experience from some mystical best seat in the house. The level of effectiveness for a sound production may guide the sound designer in effectual utilisation of immersive sound.

what do you use the immersive channels for and how does and other produced forms of entertainment programing, the height channels contribute to the believability of the production because aeroplanes and thunder really do exist above the useable sounds exist above the spectator and how they

The height channels

The height channels contribute to the creation of acoustic space. They reproduce the ambience above the listener and

are a factor in interjecting a more spacious impression of the space (such as an indoor swimming pool) is more realistically conveyed with immersive sound because the acoustics and brain remembers.

localisation and are effective tools for separating sounds. by unmasking audio elements. Unmasking sound elements allows them to be easily heard without increasing volume levels. Additionally, the height channels can contribute to a desired effect by surrounding the listener. For example, when the sounds are moving both laterally and vertically, it can contribute to a sense of speed and motion.

Finally, using the height channel to create and contribute to

channels, to positively reinforce speech, music and effects improving clarity, detail and even speech intelligibility.

Atmosphere production

Fundamental to the auditory experience is consideration for the acoustic space that surrounds the visuals and how it injects the listener into the visual space. A wide shot of a venue arguably calls for an expansive - wide-sound of the venue. With immersive sound atmosphere there is a natural perception that the sound appears more diffused as you move away from the sound source. This natural perception of depth can be replicated by the practice of capturing layers of sounds that are perceived to be close, moderately diffused and widely diffused and layering those sounds from low to high in the immersive sound mix.

Effects production

sounds can be achieved with elevation that can be applied to static sound elements or dynamic moving sound elements. Taking an effects mix and elevating and separating the channels has the effect of widening the sonic space and creating a cinematic effect with more sound all around the listener.

Dynamic sound elements/objects are audio sources that can be panned in the XYZ axis in real time by the audio mixer. This is a very powerful tool that realistically reproduces the sensation of motion.

Field sports tend to remain consistent with the soundfield production

Object-based audio

The sound design that has been discussed in this series of by ambisonic-based reproduction or by speaker/channel-

Music production

Music playback is common in sports production and an element can be easily up-processed into the height channels and used as

Changing sound perspectives

Contrary to the radical changes in picture and sound like the Spatialisation – spatial unmasking and phantom imaging using the spatialiser tools

emanates only from that channel and not from any adjacent accurately localised in a dimensional space because of the

The big picture

Case study: half pipe production

THE AUDIO MIXER/SOUND DESIGNER MAY

of the sound is the dominant sound design element and is

dimensional sound production and reproduction techniques to

Audio sources can be panned in the XYZ axis in real time by the audio mixer

Adding a few degrees of separation among sound components expands the apparent soundfield

Using a mic cluster at the X Games Austin 2014

The NAB Show 2017

THE USA’S NATIONAL ASSOCIATION OF BROADCASTERS (NAB) held its annual convention in its long-time traditional venue this April, encompassing all of the Las Vegas Convention Center (LVCC). The NAB self-describes as ‘the premier advocacy association for America’s broadcasters’. This year’s show theme was ‘The MET Effect, MET for media, entertainment and technology’. The expanded explanation of media, entertainment and technology are converging and becoming something far greater than the sum of their parts’. Preliminary registered attendance numbers reached 103,443 for the 2017 NAB Show, up from 102,513 in 2016. Of the total, representing 160 different countries, 26,714 individuals were international visitors, down slightly from the non-US attendee count of 26,781 in 2016. The exhibition featured 1,806 companies spanning over a million square 750 of the exhibitors were based outside the USA. Exhibiting including the likes of Google and Vimeo, indicative perhaps of that MET effect.

New technology-focused pavilions featured the latest

developments in the ATSC 3.0 television broadcast standard, connected cars, Facebook Live solutions and an IP showcase, demonstrating real-time

emerging interoperable standards.

Collected here are attention-grabbing products from the exhibition that still have folks talking.

Michael Johns, product manager for Shure’s new Axient Digital wireless microphone system introduced the new top-shelf product line at NAB 2017. In addition to touting the digital radio’s interference rejection capabilities, Mr Johns cited the system’s HD mode (which trades operating range for a 47 channel count per TV band), quadversity reception (allowing use of four antennas to pick up one microphone channel) and, with the ADX version of the transmitters, deployment of Shure’s Showlink technology for remote transmitter control from the receiver or from the company’s Wireless Workbench software control platform. On the impressively diminutive side of the equation, ‘we also have an automatically tuning and recalibrating internal antenna’, said Mr Johns.

While moving towards interoperability, the digital interface landscape is still populated with numerous standards and options. Wohler, which pioneered in-rack signal monitoring, is giving users audio and video options that can evolve with the broadcast market. ‘In the iAM series, we’re accommodating different signal technologies, particularly customers who are looking to work in a hybrid fashion,’ said Wohler sales VP Craig Newbury. ‘We’re enabling traditional signal inputs like analogue and AES, and MADI, and SDI, but also augmenting those on the same rear-panel with new technologies like audio-over-IP, Ravenna, AES67 and Dante.’ The iAM units also incorporate rear SFP (Small Form-factor Pluggable) interface slots for current and emerging formats like SMPTE 2022, 2120 and HDMI. The iAM series monitoring capability is being brought out of the rack by way of a browser-based remote monitoring interface which, Mr Newbury said, ‘means that customers can essentially can scale away from having to stand

in front of the unit itself and [instead] consume that data wherever they need it to be’.

The ubiquity of Audinate’s Dante networking means that ever more devices and elements of a production infrastructure can share a network. ‘The new product announcement, which is Dante Domain manager,’ was really driven around security, being able to add more security to a network revealed VP of marketing Joshua Rush,. Scale, being able to add more devices and more domains to a Dante network. And visibility accountability, reporting, networking, alerting; all of that is critical to growing a large Dante network.’

Analogue audio is still to be found at NAB, even if one has to look closely. Bittree, for example, has been making patchbays for nearly 40 years. As market changes have decreased the demand for large analogue patchbays, Bittree is extending its product line to serve new realities. ‘We’re still in the Oceanways of the world,’ said Ari Baron, general manager of Bittree, while acknowledging that production paradigms are shifting towards

Any discussion of wireless audio from NAB would have to include Lectrosonics’ Duet digital wireless IEM/ISB system, with compact transmitters and compact, battery-powered, stereo or dual-mono receivers. Noting that Duet was sales, Karl Winkler, also noted a bandwidth-saving feature – in each half-rack transmitter, four audio inputs (analogue or Dante) feed dual carriers with two channels each. For IFB use, that means four channels can be carried with only two carriers committed. Mr Winkler furthered that with Duet, ‘we can also use the receiver to do a frequency scan, and we can import that information into Wireless Designer’. The receiver data is shared via an infrared link, and can be used for frequency coordination of other Wireless Designer connected devices.

smaller installations. He added that, ‘as broadcasters are now being able to broadcast through Facebook and YouTube, the production studios are smaller and smaller and they don’t need the big infrastructure that they once did’. Bittree’s answer

a patchbay with 24 TT-jack ins and outs that are front-panel programmable for normalling – conceived to pair with such hardware as API’s Lunchbox.

The trending focus of the exhibition on Audio-over-IP and software solutions continued this year at NAB. Albeit that most have a network interface, there were still innovations in gear and software to be found in the acres of exhibition space

The NAB Show day one crowd

Michael Johns – Shure

Craig Newbury – WohlerJoshua Rush – Audinate

DiGiCo’s new SD12 is all about control in a mid-sized footprint, with dualscreens and the detail strip from the SD5 and SD7, plus a built-in recording interface for virtual soundchecks. Speaking of control, DiGiCo’s S21 and S31 now have iPad app control.

Blackmagic Design’s acquisition of Fairlight turned some heads last autumn and at NAB that attention snapped into focus as it demonstrated how quickly Fairlight’s audio prowess was incorporated into the multioperator version 14 of Blackmagic’s correction platform, Davinci Resolve.

‘For some of the market, that’s what they’re looking for because they tend to do FOH and monitors,’ noted Matt Larson, US national sales manager for professional audio for DiGiCo distributor Group One. ‘The app can actually control multiple faders at once, not just one or two.’ DiGiCo has also introduced the Stadius Ultimate 32-bit mic the leading edge that it will hold that status for years. ‘It’s a groundup design with superior sonic performance all the way through,’ stated Mr Larson. ‘It’s got its own dedicated power supplies, with dual 32-bit converters on every single channel, completely shielded all the way through, including the XLR.’

‘Fairlight is an established name in the audio market, but maybe hasn’t been that accessible to that many people because of its cost,’ said Blackmagic Design’s Stuart Ashton. ‘What we’ve been able to do with Fairlight is extract all of that software, all the quality and the R&D that’s been done over the last 25 to 30 years, and we’ve been able to put that software into its own independent tab within Divinci Resolve.’ While exponentially improving the software’s capability, Blackmagic has actually lowered the price of Resolve to US$299 from US$995, with much of that capability available in a free version. Increased adoption of the platform presumably will boost sales of hardware controllers – including the large console format Fairlight work surface – to harness the Resolve software, perhaps also staging a run for taking market share from Apple’s Final Cut Pro and Adobe’s Premiere Pro.

Calrec is leveraging its top-market broadcast console expertise downward to serve a new range of customers.

The Calrec Brio 36 compact broadcast console is cost effective, features built-in I/O and has a quick learning curve, according to marketing manager Kevin Emmott. ‘The control surface leads you through what you need to do to get a signal into it and to get it out the other end,’ he said. ‘In the US, especially, it’s been very popular in schools and colleges, because it’s cost effective enough for them to get it, but also what it does, it gives students the opportunity to work on a console that’s out there in the real world.’

2017 Dates: 24 – 27 April

2018 Dates: 9 – 12 April

Venue: Las Vegas Convention Center

Total exhibitors: 1,806

Attendance: 103,443

Contact: www.nabshow.com

Kevin Emmott – Calrec

Matt Larson – GroupOne

Stuart Ashton – Blackmagic Design

Middle East Event and Exhibition Show 2017

to the 2017 edition of the Middle East Event Show. Damian Calderbank walks the aisles

newcomers to the region, possibly because of the ‘robot serving staff’ offering a range of popular hot and cold beverages gratis, or the fact that it was at the centre of the

Away from the centre, traditional shell stands were located together and offered a smaller, more village-like feel for some of the more bespoke suppliers to the industry. This did feel different to the big boys showing off their big toys, mind you there were very few big boys in evidence. CT, Protec, IBS and a few structure companies and exhibition stand builders all took space, while the World Trade Centre had a fairly large stand right at the entrance.

The venue itself had been split into several parts with one half housing the show itself and a further third reserved for the evening gala dinner and awards show. This space was

section at the rear of the hall was dedicated to education. Supported by eclipse, it hosted a number of seminars as well as ILEA’s chapter meeting.

TAKING PLACE IN THE FESTIVAL CITY ARENA, A VERY large load-bearing tent with plenty of space in the grounds of the recently closed Al Badia Golf club, the Middle East Events and Exhibitions Show (MEES) aimed to take a different direction for 2017. While it was interesting to see a tradeshow take place away from the World Trade Centre, it

The view from

What were the opinions of the exhibitors and visitors at MEES 2017?

‘It’s a very good show, it’s nice to see all of our industry colleagues. A couple of issues for us are the location and the expense, it’s debilitating for the smaller companies to have a presence here, which is a great shame.’ Rob Storm, Protec’s client manager.

‘It’s a very social show, lots of industry friends and colleagues are here. It is a little far from town and the signage needs looking at. Equally the taxi situation is not good. On the positives, it’s a nice mixture of suppliers and the venue itself is great but too far out of town.’ Matthew Cashmore, freelance production manager.

‘I would have liked to have seen more technical innovation in the show. CT and Protec led this small part of the show. Also it would be nice to see more international exhibitors. I found the venue a bit on the small side, especially in the shell scheme

was quite far out of town towards the airport and this was the main complaint. That being said, everyone seemed happy with the tent itself.

MEES was a very social event with the main point of interaction being Protec’s central Robo Bar. This was

While the location and the cost – which was described by many as ‘prohibitive’ – were the main complaints of the event itself, the biggest criticism was reserved for the evening awards ceremony which was certainly not popular amongst attendees.

Despite this, the Middle East Event and Exhibition Show was warmly regarded by most of its visitors and exhibitors and provided an enjoyable meeting point for the local events community.

area. It was far too cramped and near impossible to talk to anyone. In most shows like this, people like to nip out to an offsite café or bar to talk business, but the location made this impossible. Also the time of year needs to be looked at, it was just before the end of the season and not the time of year for people to drop in.’ Mick Stevens, freelance production/site manager and lighting designer.

‘We are having a good show, meeting up with new clients from the other end of the UAE including people from Oman and other neighbouring countries. Most of our work is in Abu Dhabi, so for us it was good to have a presence on the other side of town.’ Alan Scholey, IBS décor.

A new venue, a new name and a new concept greeted visitors

Protec’s Robo Bar was at the heart of the event

The ILEA chapter meeting took place at the show

Simon Shuker, Dave Lee and Nick GrovesGordon and Mark Cooper from SES

At the end of MEES, Pro Audio MEA caught up with event director Javier Ferrer to address some of the issues raised.

PAMEA: How did you feel the show went?

JF: The Middle East Event and Exhibition Show as a concept has changed vastly over the years. After listening to our customers in 2016, the event needed a revamp. This new direction brought an overwhelming number of positive responses from visitors and exhibitors alike – one of the most received pieces of feedback was that ‘MEES is a legit show now’. I believe we have achieved the right foundation for future expansion. To highlight some of the changes, we re-branded the show and added ‘exhibitions’ to cover the needs on this offering and facilitated an engaging visitor experience with an entirely new content approach. According to our show survey, these changes worked, delivering a higher level of satisfaction than ever before.

PAMEA: How happy were you with the kind of crowd that you attracted?

JF: The focus was on quality of visitors attending. At the end

how instantly visible this change was, with more purchases made, fantastic numbers of business leads and great conversations taking place. We were pleased to see this also delivered a 54% YoY growth in the numbers attending.

PAMEA: Do you feel there is more scope for technology providers to exhibit at the show?

JF: For the 2017 edition, we had a dedicated area of the show for technology providers, both products and services,

including an innovation pavilion to accommodate them. Technology is key for the development of our industry and there are new innovations being applied to events by these a growth area for us.

PAMEA: What value do you feel MEES brings to the equipment rental industry?

JF: According to our survey, the main reason professionals showcase, seek new business opportunities and network.

– it’s a unique place in the region where event planners and organisers can see, touch and talk to multiple providers that can service their needs.

PAMEA: There has been criticism over the location, is this something you will look at?

JF: The trend for future years is to move from traditional venues to more ‘dedicated’ spaces. Festival City, Design District, Yas Island and Autism Rocks are some of the best examples of how venues are evolving. MEES, as any event, needs continuity after the efforts of this year and that’s what we are working on. While some of the industry have been vocal in their preference for more central locations, Festival Arena

delivered what our event required overall.

PAMEA: How will you improve the show for 2018?

JF: This edition was the foundation for the show’s growth in the upcoming years. While keeping the show consistent, there are two ways in which we’ll be improving MEES. Firstly, we sold and segmenting in more detail. Networking will remain central to the experience so we’re working on ways to enhance and deliver more ways for people to meet. Secondly, following the introduction of MEES Talks we want to expand on this concept to make the show insights even more valuable to our visitors.

PAMEA: How will you address concerns over pricing, notably for power?

JF: Before we launched this edition, we did a benchmark study to align ourselves to the other international shows of this majority (UK and US based mostly). With regards to power we have standard rates as used in the two main UAE exhibition venues, but the beauty of being an event for our industry means we can also collaborate with fantastic power supplier partners, some of which have already approached us to support the show moving forward. Our aim is to work with them to facilitate a more cost-effective participation.

2017 Dates: 17 – 18 May

2018 Dates: 2 – 3 May

Venue: Dubai Festival Arena

Total exhibitors: 73

Attendance: 2,500

Contact: www.me-eventshow.com

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Javier Ferrer MEES event director

InfoComm 2017

What were the innovations on show as InfoComm made its biennial appearance on the East Coast of the USA?

DURING THE COURSE OF A TRADE SHOW, JOURNALISTS are often asked for their opinions of that particular show or indeed the industry it represents. With reference to InfoComm, it’s impossible to answer when trying to absorb almost 1,000 exhibits spread across some 75 aisles in addition to some 40

2 of carpeted Orange County follow, thoughts crystallise and patterns start to emerge. It would appear that the days when InfoComm participants

Perhaps the fear that the IT industry is hurtling like an out-ofcontrol juggernaut towards the A/V world is too stark a reality.

to assemble the preferred processors, speakers, screens houses of worship, educational institutes, conferencing rooms, ballrooms, bars, restaurants, outdoor pool areas, cruise ships but just as no man is an island, it’s rare to cite any hardware or software as a standalone solution.

New show elements including the TIDE conference, Centre enhanced the appeal of this year’s InfoComm. In doing so, a trade show, 3,700 attendees took part in InfoComm’s training

encourage pro A/V stakeholders to reimagine the technological of speakers shared their insights from the design, retail, entertainment, VR, AR and science communities. All presenters underscored how storytelling has become a critical aspect of mindset,’ offered InfoComm International’s director of growth by offering content and programmes that speak to

Day one queues at the registration booths

the outcomes achievable through A/V solutions,’ commented InfoComm International executive director and CEO David Labuskes. ‘As we build greater awareness of the magic of A/V, we believe the InfoComm show will continue to draw more and different market participants, from content creators to enterprise decision-makers. InfoComm 2017 has proven to be a Fortunately for loudspeaker manufacturers, physics hasn’t undergone a revolution since Edward W Kellogg and Chester W

However, the humble ceiling and box cabinet speaker continues to evolve and transform itself according to the whims of interior designers and systems integrators who jointly demand that

Bose appealed to ornate ceilings everywhere with its EdgeMax

InfoComm is where you can get excited about things like behind screen wall boxes

Around the demo rooms

For the third consecutive year, the exhibition granted an extension of opening hours to the demo rooms on the eve of the show. The opportunity to get a preview of the newly developed technologies and products ahead of the packed

Community’s punchy 30-minute demos promoted an extension to its I-series compact range, whilst Martin Audio showcased its Wavefront Precision speakers, Ikon technology and XE/LE monitors and Danley served up a mix of music from jazz to bone shaking bass to better exemplify its SM80LF system and Jericho 6 horn.

Immersive audio is making further inroads, for which Meyer Sound’s Constellation setup combined 56 speakers and subwoofers including the IntelligentDC models, SpaceMap multi-channel panning and D-Mitri processing to create a sonic envelope. L-Acoustics enticed passers-by with a Syva source system setup with the P1 networked audio processor in addition to a special L-ISA immersive audio experience. Celebrating its 15th anniversary, Alcons Audio teamed up with fellow Dutch innovator Astro Spatial Audio to promote immersive audio technology incorporating an Alcons cinema systems and Sara 3D. An extensive Tannoy DI8 system fell short of being immersive, but live music being played through it helped to promote the Klark Teknik Reverb Twenty Four 3D multi-channel reverb processor in the Music Group demo suite.

With a stronger dollar, more loudspeaker manufacturers from the Euro zone are making their way to the world’s largest single market. Whilst Kling & Freitag debuted its developer Coda Audio promoted its three-way Arrayable Point Source (APS) system with a live vocalist and selected tracks in a demo room. The Soundscape demo conducted by d&b audiotechnik showcased the DS100 platform and its ability to modify the acoustic environment. RCF showcased its Art series speakers, HDL6 line array system/Sub8003A subwoofers with the latest FIR-Phase settings, whilst sister company dBTechnologies plugged its ES1203 speaker system operating via the Aurora Net software in addition to the VIO S318 and S118 subwoofers. A wide range of

speakers incorporating PhaseGuide Technology, purposely designed to provide a room with even dispersion from a peripheral out-of-sight cornice. Electro-Voice enhanced its wallmounted credentials with its latest Evid Compact Sound series, created to simplify wiring connections together with quick, secure mounting options.

The ‘network’ continues to entice or discourage products from joining its carousel, so the whispers that Audinate will soon become a listed company were generally welcomed.

QSC laid down its claim as the standard bearer of AVC/ IT convergence having developed the Core 2200 and 5200 processors. The Californian manufacturer further reinforced its position by announcing collaborations with Atlona’s Omnistream and Attero Tech. The Audio tag seems to have been omitted from the company name – a software company in the making perhaps. The audio world revolves at a more sluggish rate than IT, but some companies like QSC and Biamp Systems are orbiting away from the pack as they cater for giants such as Intel and Dell. Having unveiled the TesiraLux platform at InfoComm 2016, Biamp revealed it will soon be shipping the video-based platform.

Given the ubiquity of smartphones and the tendency of smartphone users to have ear buds handy, the BYOD (Bring Your Own Device) movement is growing with potential applications expanding. Listen Technologies has been one of the pioneers in the category of assistive listening and personal streaming audio solutions. The Listen Wi-Fi v2.0 solution is scalable, offering up to 48 channels of audio to up to 1,000 listeners.

unique speaker solutions were on offer in K-array’s room including portable (Axel and Pinnacle), installed (Tornado, Vyper, Kobra, Python and Lyzard) and concert sound (Firenze) systems together with the latest Domino cabinets and Mastiff monitors. DAS Audio raised the SPL’s with SoundForce, Nexo rolled out the M120 line array and KV2 Audio explained the design philosophy behind its VHD technology.

ADATive Anna and Otto components together with QX point source and Radius series’ took the stage for EAW RenkusHeinz C- and T-series models. Meanwhile, Shure educated visitors

networked systems software and MXA910 ceiling arrays for VoiceLift applications.

Coda Audio’s Luke Jenks, Svetly Alexandrov, Ineke Priepot, Paul Ward and Michael Creason

Andrea Torelli explaining the Anakonda principles to an interested attendee

George Goodwin from the RCF USA office proudly presenting the large format array HDL 50 A

dBTechnologies’ Marco Cantello with the latest ES1203 system

ISI’s John Krupa and FBT’s Roberto Mataloni presenting the Ventis, Vertus, ProMaxX, Mitus, Archon, Shadow, Muse and SubLine series

One Systems’ Amanda Whatley and Doug MacCallum with the new Silver Series direct weather speakers

Williams Sound engaged listeners with its Hearing HotSpot real-time audio via Wi-Fi further demonstrating scalability, unlimited channels and ultra-low latency. ‘It’s all about the audio environment you create for each individual who enters your space,’ explained CEO Paul Ingebrigsten. Sennheiser previewed its own approach to this product category with the 1U Connect Station CS1-M hub and companion Wi-Fi access point module and the MobileConnect smartphone apps. Meanwhile, ClearCom has added mobile phone compatibility to its LQ series of intercom-over-IP devices, with LQ Agent-IC software allowing Intercom IP app users to connect via mobile phone regardless of location.

Acoustic treatment is a surging marketplace, according to Primacoustic’s Steve Dickson. The growth is not only in its traditional role of managing acoustics for music production, playback and performance, but also for spoken word and in less traditional spaces ranging from schools to restaurants. ‘It’s a much easier sell now than it used to be,’ commented

Mr Dickson. ‘There’s a perception within the industry that acousticians have created an elitist science out of acoustics and so many SIs generally stayed away from it. But what they realised over a period of time is that it’s just a matter of installing the correct number of speakers in that commercial room. In the InfoComm world, in most instances, we’re dealing with square and rectangular rooms, and the percentage of absorption is really important in those rooms. So, if you’re just treating a room for speech attenuation, you only need 10% absorption. If you get to 15%, you can cover a little bit of video playback, or maybe a guy playing an acoustic guitar on a Saturday night. Around 20% covers the church with the contemporary service and at 30% you’re getting into home theatre and some performance theatres. Crucially, it’s just getting that right percentage.’

It’s six months since Harman,including its AMX and Martin Professional brands, was acquired by Samsung. Located far away from the red carpet of the audio halls, the company’s display was less audio-orientated than ever before. Almost

Clear-Com’s Steve Watanabe presented the LQ series updates

Brian Hogue from GCI Distribution with Lars Heinrich from Kling and Freitag

Aten’s Rojin Liao with the VM3200 32x32 modular matrix switch

Antonio Peruch, Francesco Faninni and Marc Kocks from Powersoft combine InfoComm work with pleasure

Allen & Heath’s Glenn Rogers with the newly launched dLive LX168 expander rack

Work export manager Ricardo Martinez with the BlueLine DSP connectors

DPA Microphones’ Evan MacKenzie urged visitors to Get Closer

QSC Audio’s Kristine Fowler presenting the newly launched Enterprise Core 2200 and 5200 processors

Wendy Charak with the jacks and plugs Switchcraft guitar

Lectrosonics’ Max Francis with the M2T Duet Digital Monitor System

Clair Brothers’ Josh Sadd and Wayne Grosser with the new C series

Yuval Kramer demonstrates the Kramer Sound and Waves Audio-powered IP-based DSP engine

Maureen Hayes and James King woo visitors to their demo suite

mirroring a modern installation where the interior designer has dominated proceedings, the newly launched Crown CDi

JBL AE Powered and LCT 81C/T ceiling tile loudspeakers did not leap out of their display settings. However, the buzz on the booth was tremendous. The show’s alternating locations draw unique audiences – Florida entices more individuals from Latin America, the Caribbean, Europe and of course the Eastern seaboard of the

BUSINESS: SHOW REVIEW

USA. With its off-site attractions, Las Vegas arguably appeals to visitors more than Orlando, although the statistics tend to take away credence from that claim.

Challenged to provide this very article as soon as the curtain came down is a thankless task. What you see here is a mere sample of the show. The new launches will appear in the products sections over the forthcoming editions, whilst our new website provides a visual report by way of a short video.

2017 Dates: 14–16 June (Orange County Convention Centre, Orlando)

2018 Dates: 6–8 June (Las Vegas Convention Centre)

Total exhibitors: 950

Attendance: 44,077

Contact: www.infocomm.org

Chiayo promoted Messenger Pro portable speaker solution

Australian QSC Audio distributor TAG brought a team of leading A/V consultants to demonstrate the Q-Sys platform

Adamson Systems sales and marketing director James Oliver with the IS10 and IS119 speaker system

Revolabs’ Phil Marechal and Michael Fitch demonstrating the new CS700 video sound collaboration system

Earthworks product specialist Craig Breckenridge with the new CTF microphones

JTS Microphones’ Dowson Yu with UC900 RX Antenna Combiner

Williams Sound’s Paul Ingebrigtsen promoting Hearing Hotspot

Building Bolero

RIEDEL’S BOLERO WIRELESS INTERCOM SYSTEM HAS captured the attention of many people since its launch. Features such as its Advanced DECT Receiver (ADR) technology and AES67 networking capabilities have made it an attractive proposition and as Jake Dodson, Riedel director of product management explains, this was the intention from the outset. ‘It all started with a theoretical exercise where we knew we had lots of problems ourselves with our existing products in terms bane of anyone’s life in RF because the environments we use wireless intercoms in are often constantly changing. We knew that we were sensitive to this and other companies’ products know if that idea was theoretically possible.’

Exploring and testing this theory led to a new receiver concept and ultimately formed the foundations of ADR technology. ‘It started off with theory and seeing if the maths worked,’ continues Mr Dodson. ‘Once we had got to the point of saying the maths works we then built a prototype device with this new series of algorithms running. We knew that we wanted to be in the DECT frequency space because it is generally licencefree globally and has the potential for very high performance. Because of the frequencies and the wavelengths it offers good

nobody had done DECT properly, including ourselves, so that was our initial starting point.

‘We built this breadboard proof of concept with the ability to switch the ADR on and off frankly blown away because the performance completely out did our expectations,’ he continues. ‘What we saw were improvements across a very wide range of time spreads. So we immediately realised that we had something in terms of the core foundational technology that we could build a really world-class product on top of.’ Running in parallel to this process, the manufacturer was also building Bolero’s product requirements. This aspect saw a project we used to run a waterfall development approach, very sequential,’ states Mr Dodson. ‘We decided we wanted the entire product development of the company to move over to an Agile methodology.

‘I look at Agile as a process,’ he furthers. ‘It obviously started out life in the software domain, but if you look at some of the core characteristics, what Agile is all about is teams committing

to a sprint. It is a commitment to doing something and at the end of it the result is tested on the internal customer but with daily scrums and daily standouts which encourage communication and problem solving. If you can’t solve the problem on your own you raise a hand and say you have an issue. That process starts to increase communication which is critical when you are developing areas with a lot of unknowns. If you already know how to solve the problem then it is very unlikely that you are going to be doing much on the innovation front because you’ve already solved those problems in the past, so what is going to come out is very average. Whereas if you’re pushing on the innovation side you are naturally increasing the number of unknowns in your environment so you have to have a mechanism to be able to tolerate that, otherwise you’d all believe that the task was impossible. I think that Agile helps in that process.’

Mr Dodson believes that development process was the collaborative environment it created. ‘We had multiple sessions that were purely focused on the product and the architecture before we really developed anything other than the core foundational technology. We spent six months just locking ourselves in a room on multiple occasions and arguing. We were able to create an environment where people could argue with each other without taking personal affront. Often people don’t suggest things because they are worried about being embarrassed. We were able to create an environment where people would suggest things and because we managed to get the team into that mode of operation we were able to challenge areas that we might never have challenged. The creation of that core team and that process meant that everybody felt a really high sense of ownership.’

Jake Dodson, Riedel director of product management

Bolero was put to use for the 2017 Eurovision Song Contest

Bolero features a decentralised antenna structure on an AES67 network combined with a synchronised DECT layer

Do 10,000 likes make a sale?

THE WAY WE WORK, LIVE AND COMMUNICATE now means that it is almost impossible to avoid social media. Platforms such as Facebook, Twitter, Instagram, WeChat and LinkedIn are increasingly where people head to gather information. Pro audio companies have reacted to this with many focusing their efforts on increasing their social media platforms present and how are companies using them to grow their businesses?

‘We use social media to increase our brand image with a monthly promotion plan and sharing news about events,’ explains Apia’s Saverio Wongher. ‘We can reach many potential customers with targeted advertising and increase our brand perception in the market using the different platforms.’

‘With large-ticket items such as PA systems, social media is almost entirely used as part of the branding and communication toolkit, rather than for lead generation and sales,’ adds Nexo’s Ginny Goudy. ‘At Nexo, we started years ago. At that time, we had about 3,000 followers on Facebook, and in recent years, we have increased that to over 100,000. We’ve found that the Facebook platform best suits our material (usually photographic) and our message (succinct victory stories about new customers, concerts or installations), so it has become our primary social media channel. I’d describe the method as “endorsement by peer group”, so we keep the messaging oriented to the Nexo “family”, delivered in deliberately un-corporate language.’

‘Social media is an important part of Meyer Sound’s communications strategy,’ furthers media is a great medium for engaging with our audience and developing a steady cadence of conversation in the community.’

‘It helps us engage with our customers and potential customers,’ offers Harman Professional’s Stephanie O’Neill. ‘It helps us promote our products. It helps us gain brand awareness. It helps us offer support and earn repeat business. It keeps us in front of our customers and potential customers, so they come to us when they are ready to buy. Our social media efforts also help support distributors and dealers. In addition to sharing user-generated content from end users, we often feature our partners’ content, which extends their reach to our brand audiences. Conversely, our partners can also share our social media content on their channels, which adds to the original content they are creating themselves.’

‘The most important approach for our social media channels is that our content is users,’ explains Christina Balanon from Bosch Communication Systems. ‘Content, including promotions, are regionalised as necessary. We also put high value on user-generated

getting the most attention. We have a team that monitors our social media channels 24/7 so we can react immediately to customer inquiries. This team is in close contact with all departments including customer support, sales, tech support, R&D and marketing. This allows us to establish close contact with our fans and learn what they like, don’t like and the different ways our products are used. And this helps us create better solutions for our customers.’

Social media is a useful tool for user engagement and building relationships with a global community. But is there a direct link between social media likes and sales?

‘Likes are never going to be responsible for an end sale, because we are not selling baked beans, it is a considered sale,’ states Martin Audio’s James King. ‘What it shows is a level of engagement with the brand, maybe a particular interest in a product, or simply an entertaining piece of content. It is try to sell them something. That might come if they engage over a period of time, visit the website regularly, private message a query

the website. Ultimately what we focus on with social media is creating engaged audiences that are helping to spread our messages, generate advocacy and loyalty, and be a helping hand to them if we can, and that over the long haul will be part of the conversation to helping generate revenue.’

‘We get enquiries about new business, particularly via the messaging function on Facebook,’ adds Funktion One’s Mike Nicholson. ‘Generally speaking, however, social media is a way of communicating with a fairly wide audience and letting them know what we do. Some of that audience will be potential customers, who may see an event or installation featuring Funktion One, or a new product, that they are inspired by. It may lead to winning business, but it’s hard to put a measure on that.’

‘Pro audio people appreciate relevant knowhow and expertise,’ adds Denise Kipf from d&b audiotechnik. ‘Social media provides a means to access information, and – in the best case – share it easily with friends and colleagues. Whether a “like” leads to a sale will ultimately depend on the quality of the content. Right now, our social media objective is to involve the community, and increase brand awareness.’

All of these platforms also offer analytics, but there are mixed opinions about the relevance of this. ‘We don’t employ any analytics tools or anything, but we keep an eye on how big our audiences are and how quickly they are growing,’ says Mr Nicholson. ‘Certain types of posts get more reactions, but that doesn’t really affect what we share. Our audiences are growing and people like what we’re sharing, so we must be doing okay.’

‘Social media has many tools to measure effectiveness,’ adds Mr Wongher. ‘Our strategy is pushing everybody on our website

where we can see the real value of visitors and analyse which products provide the most interest.’

‘Overall, we look at engagement,’ offers Ms O’Neill. ‘This includes likes, shares and comments. The number of followers isn’t as important as it used to be – it’s about how much your followers engage with your company, your brands and your content.’

‘Facebook offers excellent analytical tools so we can examine the outcomes more closely than other social media options,’ furthers Ms Goudy. ‘For instance, we can see clear trends in terms of language and geography. Obviously there are rational explanations for some of this, such as the very high uptake in Latin American countries, where we have energetic distributors but there is also a dearth of high-quality pro audio publishing. Analytics also allows us to monitor comparable corporate pages, which helps to understand the size of potential audiences as well as our own penetration, and the rhythms of the market, for example around trade shows, product launches and seasonal swings.’

‘Social media analysis tools and big data user behaviour,’ states Ms Balanon. ‘We create several variations of a post or an advertisement to determine which version is more attractive and creates more impact. Some platforms (like Facebook) allow us to tailor promotions by target audience demographics and location. This allows us to be more precise and increase the chances that the content is relevant for the recipient. We also measure the effectiveness of our social media presence using various banners, traceable links and analysis tools, which give us a very detailed analysis of user behaviour. This impacts the content of our visual and verbal messaging including social media promotions and website content.’

It’s clear that social media is important to pro audio companies and can help their businesses. But as Mr King concludes, it needs to be part of a wider strategy. ‘Social media has helped generate awareness and advocates for the brand and has helped start initial conversations, but I honestly doubt that it’s ever solely been responsible for a sale. But it’s definitely increasingly part of the journey, part of the conversation. Our business is not about the hard sell and users of social media don’t want to be sold to, they want to learn, be entertained and be listened to.’

www.apia.pro

www.boschcommunications.com

www.dbaudio.com

www.funktion-one.com

pro.harman.com

www.martin-audio.com

www.meyersound.com

www.nexo-sa.com

Is social media just a way to communicate with your customers and celebrate their success or can it also be a genuine sales tool that helps to grow your business?

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