Pro AVL Asia January-February 2019 by Blank Canvas Publishing Ltd

LIVE SOUND LIGHTING RECORDING INSTALLATION AV BROADCAST POSTPRODUCTION January–February 2019

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CONTENTS

Volume 18 Issue One January–February 2019

NEWS NEWS RCF welcomes DPA Microphones

EDUCATION Paving the way for digital AV

DISTRIBUTION beyerdynamic tweaks APAC distribution

APPOINTMENTS Adam Hall Asia appoints country manager for India

NEW PRODUCTS The industry’s most comprehensive product news

FEATURES TEAMING UP Mumbai’s clubs embrace Martin Audio sound systems

BELLE OF THE BALL Singapore’s Ritz-Carlton ballroom gets revamped

100

DIGITAL PLATFORM tm stagetec heads to Waverton

102

SIMULATING SURGERY We explore hospital simulation suites in Perth

104

OPEN COMMUNICATION Genelec enhances study options in China

106

Editor’s note The New Year is always a good time to pause and take stock of what’s going on and discern where there’s room for improvement. I’m not talking about unrealistic resolutions that are doomed to failure, but looking for wards and setting some intentions for the coming 12 months. Here at Blank Canvas Publishing, as we move into 2019, our minds are ﬁrmly on our digital offerings. This doesn’t imply any kind of downturn for our print editions; we’re proud to have the resources to publish high-quality, visually alluring magazines bimonthly, alongside an increasing amount of video inter views and features, online news and, now, podcasts. They’re all designed to complement each other and enable you to keep track of our coverage on a growing number of platforms. We’re always grateful for input from our readers, so if you have any suggestions for video inter views, photogenic projects or installations that would beneﬁt from some video footage, or someone who would make a fascinating podcast subject, please let us know. This is one New Year’s resolution that won’t be dead in the water by the time March rolls around. Wishing a ver y Happy New Year and a prosperous 2019 to all our readers.

SCHOOL OF THE FUTURE Global Indian International School gets smart 108 COVER: BACK TO LIFE Sydney’s Studios 301 relocates

110

CASSETTE RECORDER British-style recording takes off in India’s suburbs 114

BUSINESS COMPANY PROFILE Ideal Systems diversiﬁes

116

LETTER FROM AMERICA Dan Daley discusses the rise of esports

118

LETTER FROM EUROPE Phil Ward debates the need for lists

118

TECHNOLOGY The changing face of cinema projection

120

SHOW REVIEW We report from AES New York

122

SHOW REVIEW InterBEE hits an all-time high

126

Email: cmoss@proavl-asia.com

CONTACTS

R&D Examining the design process behind DPA’s subminiature mics

128

ANALYSIS We look at what’s driving future AV talent

130

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NEWS

RCF Group welcomes DPA WORLD: RCF Group has entered into a deﬁnitive agreement to wholly acquire DPA from American investors, the Riverside Company. Based in Allerød, Denmark, DPA Microphones has grown over 26 years to become a leading, premium brand within the live, broadcasting, theatrical and studio sectors of the professional audio industry. The Danish Financial Times disclosed details that the Riverside Company intended to put its microphone-manufacturing asset up for sale during InfoComm 2018. As such, the speed of the acquisition by RCF Group has caught industry observers by surprise. RCF Group has grown signiﬁcantly under the companies RCF and AEB Industriale (dBTechnologies) since late 2003. Having bought out of Loud Technologies 15 years ago, RCF’s rise under the leadership of CEO Arturo Vicari has consistently recorded double-digit growth. The only blemish during that period was the acquisition of lighting company SGM in 2009, which it sold three years later.

RCF CEO Arturo Vicari In 2017, two European private equity players, Palladio Holding and Amundi Private Equity Funds, invested with a minority stake in order to support and enhance RCF Group with its ambitious growth plans. Generating more than 80% of its revenues in 120 countries outside Italy, RCF Group most recently welcomed fellow loudspeaker manufacturer EAW into its portfolio in September 2018. Coming just three months later,

the acquisition of DPA represents another important milestone to the group’s growth. ‘When DPA became available to purchase on the market, the timing was right as we were looking for a microphone company,’ commented Mr Vicari. ‘Having assessed DPA’s factory in Denmark, I was enormously impressed by the precision engineering and craft of their workmanship. Like any great audio brand, they apply art to their

science. After meeting with the Riverside Company several times, we entered an auction bid and acquired the brand with a clear strategy in mind. Having always covered the speaker elements, RCF Group now covers audio from the source to the signal.’ Having overseen the launch of the d:screet Core 6060, 6061 subminiature microphones and the d:ﬁne Core 6066 subminiature headset microphone at AES 2018,

DPA Microphones CEO Kalle Hvidt Nielsen explained the rationale for the sale: ‘DPA has come a long way. The share of sales coming from new products is up from less than 5% to more than 40%. Now we look forward to a bright future under new ownership in a group with an uncompromising qualityoriented approach to the pro audio business – just like ours.’ Chiomenti provided legal advice on the transaction for RCF Group, while New Deal Advisors delivered ﬁnancial due diligence and Deloitte covered tax and legal due diligence. As for the future of the expanded RCF Group, Mr Vicari hinted at further announcements: ‘I believe that when a company stops growing, it starts to die. Next year is our 70th anniversary and we are going public again. Until now, the brand perception has generally been lower than the actual size of RCF. Today, we have the right products and are changing that perception.’ www.dpamicrophones.com www.rcf-group.it

9HJD·V LQVSLUHG UHORFDWLRQ INDIA: Vega Project India has moved to a new office at Inspire BKC (Bandra Kurla Complex) in east Mumbai to accommodate its growing operations. The new office will serve as the focal point for sales, support and services within the country and will showcase the company’s latest technologies. Vega Global’s director for business development, Matthew Deayton, together with India’s country manager, Blessing Joseph, officiated the opening of the office.

‘This is a very important step for our business, and we are incredibly proud of what Blessing and our India team have accomplished,’ said Mr Deayton. ‘This new ofﬁce reinforces our commitment and presence in India and is a strong reﬂection of our combination of talent, technical capabilities and drive for innovation. This facility will be an enabler that reinforces our culture of collaboration and customer-focused service; and will keep us on our continued growth

trajectory in the region.’ Vega Global’s managing director, Laurie Chow, offered his congratulations to the India team. ‘Throughout the years of being in the country, we have signiﬁcantly increased our presence and have grown our client base. It is through the team’s dedication and Blessing’s leadership that these achievements have become possible.’ Matthew Deayton with the Vega Projects India Team

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www.vega-global.com

CHANGING THE DYNAMIC. KSM8 Dualdyne™ Vocal Microphone The WORLD’S FIRST dual-diaphragm handheld dynamic microphone redefines live sound with masterful off-axis rejection and unprecedentedly wide working distance. Optimized to give the flattest mid-high frequency response ever seen on a dynamic microphone, KSM8 provides unmatched sonic accuracy with no EQ required. Discover the KSM8 Dualdyne Vocal Microphone at www.shure.com/asia

2018 Shure Asia Limited

NEWS: BUSINESS

([FOXVLYH $GDPVRQ HVWDEOLVKHV $3$& RIÀFH APAC: Adamson Systems Engineering has established a new Asia Pacific office in Chiang Mai, Thailand in order to expand its presence in the Asia Pacific region. Heading up the new venture is Ben Millson. ‘Asia was initially a small region for Adamson,’ explained David Dohrmann, technical director for the Asia Pacific region at Adamson. ‘I managed our entire operations there from Germany. Now, following the success we have enjoyed and the strength of our distribution partners, we are in a position to expand our presence greatly in the territory. The new APAC office, with Ben in charge, will not only enable us to achieve this, but also to provide additional support for our distributors.

David Dohrmann and Ben Millson ‘I will deliver technical support and expertise, while Ben will handle sales, combining for a

better overall service in Asia Paciﬁc.’ Mr Millson will serve as the

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managing director for Adamson’s Asia Paciﬁc operations. Originally from the UK, he entered the pro audio industry with sales roles at Adam Hall, AVSL Group and Cadac Holdings. Joining d&b audiotechnik in 2014 as its regional sales manager for South East Asia and India, Mr Millson would later take on responsibilities for managing sales across Korea, Australia, New Zealand and India, while also providing technical sales support for the German manufacturer’s solutions. It was while working for d&b that Mr Millson relocated from the UK to Asia. ‘The move to Singapore enabled me to build better relationships with customers and dealers, and to react to the market in a way I couldn’t remotely,’ Mr Millson explained. ‘I am now relocating to Chiang Mai having accepted this new role with Adamson and will be travelling around the APAC region to better understand our customers’ needs

while supporting our partners. ‘My role at Adamson on a daily basis will be similar to my previous positions. However, I will now cover the entire APAC region rather than just a part of it. While my job title is managing director, I will work in more of a sales capacity, supported by David on the technical side. Over time, we will be building a larger team to serve and support the region.’ ‘Ben’s experience gives us a major boost in the region,’ said Mr Dohrmann. ‘He will handle sales and I will continue in my role as technical director while we aim to provide a better overall service.’ Mr Dohrmann added that further hires are planned to support this: ‘We are also about to appoint another technical support professional, who will be based out of Thailand. The new engineer will work alongside our education and support coordinator, Ayumi Hanano, in Japan to reinforce our commitment to unmatched technical support and education for the Asia Pacific region. This structure mirrors the staff setup that has proven successful for Adamson in Europe.’ While technical and sales support will be provided from Adamson’s new office in Chiang Mai, Mr Dohrmann and Mr Millson emphasised that it will not take business away from the manufacturer’s roster of distributors across the territory. ‘We cannot sell our products directly from the new office,’ Mr Millson confirmed. ‘It is a rep office and its purpose is to support Adamson’s distribution network.’ www.adamsonsystems.com

PlayBox rebranded WORLD: PlayBox Technology Limited has undergone a rebranding process, emerging under the new trading name of PlayBox Neo. The name draws upon the company’s Neo solutions. ‘We have been the industry leader in TV channel-in-a-box technology for nearly two decades and are now progressing to the next stage of innovation with PlayBox Neo’s full range of playout solutions centred on the server-based AirBox and cloudbased CloudAir,’ said PlayBox Neo CEO, Pavlin Rahnev. ‘We will continue driving innovation with future-proof technology for every scale of operation. The broadcast media industry has experienced

Pavlin Rahnev a variety of transformations throughout the years. Cloudbased technologies, virtualisation and IP-based solutions are changing the dynamics even further.’ www.playboxneo.com

NEWS: BUSINESS

Sennheiser opens new SEA HQ

Daniel Sennheiser officially opens the new Sennheiser SEA HQ SINGAPORE: More than 26 years since Sennheiser Electronic Asia established its office base in Singapore, the German manufacturer has relocated to a new, purpose-built regional headquarters. Under the astute management of Joerg Sennheiser, the economic and technological landscape was very different in 1992. The current leadership of his sons – Dr Andreas and Daniel – has seen the German brand become a household name across Asia Pacific. In more professional circles, the G4 evolution wireless series, Neumann microphones and monitors, Ambeo 3D technology and Digital 9000 have proven popular in South East Asia. Together with Daniel Sennheiser, MD Martin Low welcomed a bespoke list of dealers and

distributors to an official opening party on 29 November. Located in close proximity to Mediacorp Studios and the other major media companies, the 1,040m2 facility is most definitely future-proof and bears a similar design signature to that of Sennheiser Australia. The Sydney office draws on Crestron technology to help manage its dynamic work environment and this framework has been replicated by Sennheiser SEA. The result is a facility of various meeting and collaboration spaces – named after Asian capital cities such as Manila, Jakarta and Bangkok – which are in constant use by staff and clients through an easy-to-use meeting room scheduling solution powered by Crestron. Long-time partner Electro Acoustic Systems (EAS) was called upon to

install the high-level technological fabric throughout the facility. ‘We’ve been working with Sennheiser for over two decades now,’ revealed EAS business development director, Tze Tze Lam. ‘From government and corporate projects to education, hotels and performing art centres, we’ve always found Sennheiser products to be extremely reliable. As a 36-year-old company, we have a lot of experience with a lot of products and Sennheiser really is a very experienced partner.’ Having travelled in from Kuala Lumpur, Acoustics & Lighting MD Kim San Yeo was attending the VIP gathering to celebrate the prestigious event. ‘We started with Sennheiser back in 1992 progressing with G1 evolution wireless – we’re now on G4, during which time there has been a dramatic improvement both in terms of capsule and wireless technology.’ Naturally proud of such an occasion, Daniel Sennheiser flew in from Hannover to oversee the proceedings and greet all the guests. ‘This office really represents a new way of working as it’s activity-based. We don’t have fixed desks anymore and people are moving around based on the activity they do, whether that’s needing to withdraw and be quiet and concentrate or being in a meeting or phone conference. We rolled out this new way of working in our headquarters in certain

areas and really went with it when implemented in Sydney. Therefore, this one in Singapore is built around the same concept.’ Man-of-the-hour, Sennheiser SEA MD and three-letter acronym expert Martin Low had the ﬁnal word: ‘We wanted to create something unique that would differentiate us from other manufacturers. The advantages of

company now and we are trying to use technology to really help take us to the next level.’ Located at Inﬁnite Studios, 21 Media Circle in Singapore, Sennheiser has evolved sufﬁciently to create an enviable, conducive working environment. www.sennheiser.com

The foyer showroom of the new headquarters ABW (activity-based working) is that you can foster greater collaborations and creativity. Most importantly, it will produce a more conducive environment where we can fully interact and spend a lot more quality time with our customers. ‘Together with EAS, Crestron is a strategic partner and we’ve been working very closely with both of them to set up the entire space. It’s a very smart and connected

Unlike the previous Alexandria Technopark facility, 21 Media Circle beneﬁts from natural daylight

Vitec acquires Telairity WORLD: Vitec has acquired H.264 encoding workﬂow solutions manufacturer Telairity as it looks to strengthen its presence in the broadcast industry. ‘The strategic acquisition of Telairity further

strengthens Vitec’s position in the broadcast market,’ said Mark D’Addio, Vitec senior vice president, sales and marketing. ‘Vitec’s HEVC technology and streaming expertise address a growing need for

broadcasters to reduce bandwidth requirements while maximising video quality.’ Telairity’s Matt McKee has subsequently joined Vitec as director of broadcast sales. ‘Telairity

customers have been asking for a compelling reason to upgrade their broadcast links,’ he said. ‘Vitec HEVC solutions offer the highest levels of network efﬁciency, video quality and reliability,

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especially for Digital Satellite News Gathering (DSNG) and contribution applications.’ www.telairity.com www.vitec.com

NEWS: BUSINESS

d&b audiotechnik Greater China formed CHINA: d&b audiotechnik has established a new subsidiar y in China. d&b audiotechnik Greater China Ltd is the result of a collaboration between d&b audiotechnik and its former Chinese par tner, d&b China. Based in Hong Kong, d&b audiotechnik Greater China will also have ofﬁces in Beijing, Guangzhou and Shanghai, operated by 44 staff members from d&b China. The new entity will be responsible for sales,

d&b brand, having both established the ﬁrst d&b audiotechnik China ofﬁce in 2004. d&b audiotechnik Group CEO, Amnon Harman, will also be on the advisory board, with the German manufacturer holding the majority interest in the new cooperation. ‘We will be able to serve our Chinese sales partners and customers more directly with the best solutions for their professional audio needs in installation and mobile applications,’ explained Mr Harman.

Jens Nilsson, Daniel Chan, Amnon Harman, Freddie To and Stephan Greiner marketing, ser vice and suppor t for sales par tners and customers across Greater China. This, the German manufacturer states, reafﬁrms its commitment to growth in the Asia Paciﬁc region. Daniel Chan will serve as the managing director/CEO of d&b audiotechnik Greater China, while Freddie To will join the advisory board alongside an external market expert to be announced in due course. Mr Chan and Mr To are extremely familiar with the

‘The co-owners and co-workers who will be joining the d&b global team bring in tremendous expertise around d&b systems, audio technology solutions and the Chinese market.’ Mr Chan added: ‘The Chinese market is strong and I believe this move from d&b comes at just the right time to leverage this positive growth.’

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www.dbaudio.com

Mega Sound adds SD5 INDIA: Pro audio rental company Mega Sound has invested in a DiGiCo SD5 with SD-Rack from distributor Hi-Tech Audio Systems. The SD5 joins an SD10 in Mega Sound’s rental inventory.

Siddharth Chauhan with a DiGiCo SD5 ‘In 2017, we purchased our ﬁrst SD10,’ explained Siddharth Chauhan, managing director of Mega Sound. ‘We have used it

to support high-proﬁle Indian artists such as Arijeet Singh and Sukhvinder Singh, among others. It was smooth sailing with the SD10 and our tech team had received impeccable guidance from Hi-Tech’s after-sales support experts on the DiGiCo platform, therefore we didn’t hesitate when adding the SD5 to strengthen our audio arsenal.’ The purchase marks the arrival of the fourth SD5 console in India. ‘The SD5’s software is capable of processing 253 input channels and up to 124 aux/sub groups,’ explained Nirdosh Aggarwal, director of sales at Hi-Tech. ‘The console also has pre-installed standard optics that seamlessly connect to the SD-Rack. The advantage of having an SD-Rack is that it can install various cards like the new Stadius 32-bit I/O cards, Dante and Aviom.’ www.digico.biz www.hitechaudiosystems.com www.megasound.in

Januar y–Februar y 2019 PRO AVL ASIA 9

NEWS: BUSINESS SOUNDBITES

DiGiCo acquires KLANG

REALLASER ARRIVES IN INDIA INDIA: Vettri Theatres is the ﬁrst cinema in India to install Christie’s CP4325RGB RealLaser projector. The cinema’s auditorium is also equipped with ergonomic, cushioned seats and 3-way stage speakers, and has been decorated so as to offer customers the best moviegoing experience.

Christie’s CP4325-RGB ‘As a forward-thinking exhibitor in Chennai, we’re always thinking of new ways to elevate the movie-viewing experience and introducing state-of-theart cinema technologies to our patrons,’ said Rakesh Gowthaman, managing director of Vettri Theatres. ‘The Christie CP4325-RGB, with its compact, all-in-one form factor, 25,000 lumens and 4K cinematic performance, is exactly what we need to deliver the best cinematic visuals to our discerning audiences.’

WORLD: DiGiCo has acquired 3D in-ear monitoring specialist KLANG:technologies. As a result, KLANG now resides beneath the Audiotonix umbrella alongside DiGiCo, Allen & Heath, Calrec, DiGiGrid and Solid State Logic. The acquisition means that over time, the full KLANG immersive workﬂow will be integrated into DiGiCo consoles, while the German brand will beneﬁt from the group’s combined R&D expertise and vast resources. ‘This is slightly different from our other acquisitions,’ explained James Gordon, CEO of Audiotonix. ‘KLANG is a brand that is very much still in its infancy and needs a lot of support to get it to where we want it to be, both in terms of sales support and manufacturing. It made sense on the basis that KLANG and DiGiCo have been working together

well on different projects for about 18 months, and KLANG’s aspiration is very much to go into the touring, ﬁxed install and house of worship markets.’ ‘We have been partnering closely with our friends from DiGiCo for a while, working on deep integration between our products with the goal of giving engineers and artists the best workﬂows and sonic experience available – immersive in-ear monitoring,’ explained Roman Scharrer, CEO of KLANG. ‘During this process, it has become more and more obvious that philosophy, attitude and customer care, as well as support and the drive to innovate, are very much alike between KLANG and DiGiCo.’ The result of the merger, at least from a technology perspective, will be a greater level of integration between the two platforms. ‘What

HE 1 Experience Centre opens in Singapore

you’re going to see now is a huge level of integration and I imagine you’ll start to see some of that in 2019,’ said Mr Gordon. ‘We want to move KLANG’s immersive workflow fully into the DiGiCo console workflow, so that the panning and the console automation work directly from the console surface. We’ll be trying to make it as easy as possible for monitoring engineers to mix in that environment and give the best results that they can to their artists. ‘If you’ve played with KLANG’s system, you definitely get a lot more space in your mix, allowing you to prioritise signals. By doing that you inevitably listen at a lower level, so it’s actually better for your artists’ hearing longer-term as well.’ ‘Being part of the same team, which is renowned within the live market, brings our solutions to the forefront and improves support coverage,’ added Mr Scharrer. ‘Access to engineering and R&D knowledge and resources within DiGiCo and the wider Audiotonix Group will fast-track the development of innovative KLANG solutions. However, we will also continue to work directly with existing channels, ensuring continuity of business and allowing access to KLANG solutions for all console platforms and third parties.’

SINGAPORE: The ﬁrst Sennheiser HE 1 Experience Centre has opened its doors. Located on Singapore’s Orchard Road, within ConnectIT at 313@Somerset, the facility provides the opportunity for ears-on experience with the world’s most expensive pair of headphones. The Experience Centre simulates a living room setting, allowing consumers to experience the HE 1 as intended. Trained Sennheiser staff will take customers through a 30-minute live demonstration of the headphones. Appointments can be made via ConnectIT where timeslots are subject to availability. ‘Redeﬁning the limits of audiophile sound, we developed the Sennheiser HE 1 to provide listeners with the ultimate sound experience, and the new Experience Centre will allow our consumers a hands-on experience of our most impressive headphones yet,’ said Daniel Sennheiser, CEO. The HE 1 retails for $86,000 (SING).

www.digico.biz

www.sennheiser.com

www.klang.com

www.christiedigital.com

BEXEL MAKES RIEDEL COMMITMENT WORLD: NEP Broadcast Services subsidiary Bexel has invested in Riedel’s Bolero wireless intercom and Artist matrix mainframes. The communications solutions now form part of Bexel’s rental inventory for broadcast productions. The investment comprises an Artist Matrix intercom system and a ﬂeet of Bolero wireless beltpacks and antennas. Bexel has also committed to expanding its inventory of Artist frames and panels, and to adding further Bolero wireless beltpacks and antennas in early 2019. ‘A key beneﬁt of the Riedel intercom solutions is the ability to expand up to 100 antennas and 100 beltpacks to satisfy unique and demanding production requirements,’ said Tom Dickinson, VP of technology at Bexel. www.bexel.com www.nepgroup.com www.riedel.net

Shure passes the baton to the visually impaired WORLD: Shure has shown its support for The Baton Project, an initiative to develop a new conductor’s baton that sends wireless signals to wearable vibration devices, enabling visually impaired musicians to play as part of traditional orchestras. The manufacturer has supplied its PSM 900 in-ear monitoring systems to transmit the vibration signals from the baton directly to a wearable device worn by the visually impaired musician, allowing them to receive signalling and direction for their performance. ‘The Baton Project represents a huge step forward in accessibility for musicians that serves to further enrich our enjoyment of music,’ said Marc Henshall, senior marketing specialist at Shure. ‘It is widely understood that when one sense diminishes, others often heighten. Orchestral

10 PRO AVL ASIA Januar y–Februar y 2019

music could soon see an inﬂux of incredible new talent thanks to this noble project, and we think that’s an exciting prospect for the future of music.’ The ﬁrst trial concert using the ‘Haptic Baton’ saw more than

50 invited audience members witness a performance from 12 musicians from the Paraorchestra and Friends in the UK and Korea’s Dominant Agency. ‘The vibrations and buzzing of the Haptic Baton had a

sensation that we could react to like magnesium,’ said visually impaired pianist, Rachel Starritt. ‘All of a sudden we were in this liberating universe, connected as one unity rather than the beats providing a rhythmic obstacle that we had to face.’ Working closely with programmer and developer Charles Matthews, Vahakn Matossian built on his father Rolf Gehlhaar’s original prototype, Beat Buzz, with gesture sensitivity and a zero-latency stereo haptic response. ‘All the testing has been so revealing, it either ﬂies or it doesn’t,’ Mr Matossian said. ‘There’s no half way. Latency is out of the question, and crystal radio transmission is the backbone. Shure has provided an unparalleled system. It really helps to work with exceptional gear. This is a world ﬁrst. No conductor has ever wirelessly transmitted simultaneously to both multiple visually impaired and sighted orchestral musicians with the same baton.’ www.shure.com

S O M E WA I T. S O M E S E E K . OTHERS JUST

M AK E IT HAP P EN.

NEWS: BUSINESS

disguise increases presence in China CHINA: disguise has opened a new office in Shanghai. More than 70 disguise partners and customers were invited to a special launch event at the new facility, in the heart of Huangpu District. disguise, formerly known as d3 Technologies, first entered the Chinese market in 2015 and rapid growth has led to the opening of the Shanghai office. The launch event saw visual decoration themed on an 8-bit RGB colour scheme. The content displayed was created by a team of Chinese designers, managed by Ivan Lee and Tammy Cheung. On arrival, guests entered a light tunnel, which led to the ‘pixel playground’, described as a multi-sensory environment. Dance performances and live jazz

complemented the visual effects, which were powered by a disguise gx 2, with generative Notch.

disguise CEO Fernando Kufer delivered a welcoming speech followed by a presentation from

Live Legends Asia, a disguise studio partner that has completed numerous high-proﬁle projects such as Club ѿ in Beijing. It was then announced that Halo Image will serve as disguise’s new sales partner, providing ground support in the region. Further announcements to strengthen disguise’s presence in China included the launch of a new

Chinese website and WeChat page. The new ofﬁce is certainly in capable hands. Having joined disguise in February 2018, Ellen Shi is serving as the marketing and PR manager and has experience with driving brands such as Apple China. She is joined by sales and marketing ofﬁcer, Ximin Zhou, who joined in August. Meanwhile, Michael Adefehinti, training and support specialist, has relocated from London to Shanghai. He has worked for disguise for three years in the UK, supporting shows such as the West End musical Bat Out of Hell and Justin Timberlake’s Man of the Woods Tour. www.disguise.one

L-Acoustics acquires its Gearhouse Broadcast precision sheet metal supplier invests in Brio36 WORLD: L-Acoustics has acquired HGP and its sister brand, API. HGP manufactures precision sheet metal while API specialises in powder coating. The acquisition came about as part of L-Acoustics’ ongoing R&D strategy to optimise its operations, as precision sheet metal is used in rigging and internal loudspeaker components. ‘This operation represents a new and extremely positive step in augmenting our R&D and production capabilities,’ explained Hervé Guillaume, managing director of L-Acoustics. ‘This alliance will allow us to improve our technical skill set and market intelligence regarding precision sheet metal, a vital technology in our professional audio solutions. HGP’s expertise and savoir-faire are highly complementary to our own,

AUSTRALIA: Gearhouse Broadcast has added a pair of Calrec Brio36 audio consoles to its rental inventory. The mixers were initially purchased for use during the recent Asian Games in Jakarta before joining the Gearhouse rental roster. ‘By adding Calrec’s Brio consoles, we’re giving our customers the ability to use a powerful, compact audio console that includes an impressive range of networking capabilities

Hervé Guillaume and Bertrand Bounoure enabling us to better comprehend the constraints and speciﬁcities of the trade at every stage, from conception to production.’ Bertrand Bounoure, president and commercial director of HGP, commented: ‘This constitutes a natural extension of a decade-

long, successful supplier–client relationship between two growing companies with shared interests and objectives. We are delighted to pool our resources and abilities.’ www.hgp.fr www.l-acoustics.com

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Calrec’s Brio36

with Hydra2,’ said Danny Riess, broadcast audio supervisor at Gearhouse Broadcast. ‘This feature lets our clients tap into things like multi-connected studio scenarios with a large number of inputs and outputs. Also, Brios are ideally suited to ﬂypack and portable applications, which represents a good portion of our business in Australia.’ www.calrec.com

NEWS: BUSINESS

Powersoft goes public on AIM Italia WORLD: Italian ampliﬁer manufacturer Powersoft SpA has commenced the public trading of it shares on the AIM Italia (Alternative Investment Market). The decision to go public was made to fur ther facilitate Powersoft’s exponential growth and will allow the company to drive for ward its ongoing R&D activities, according to the ﬁrm. Powersoft’s CEO Luca Lastrucci commented: ‘We have enjoyed great success in the last few years, which has been evidenced

Powersoft founders from left to right: Antonio Peruch, Luca Lastrucci and Claudio Lastrucci

by the signiﬁcant advances we have made over the last two decades, both technologically and territorially. In order to take the next step for ward, we have decided to open ourselves up to a wider world. This will, in turn, give us more capital to maintain our strong focus on R&D, which has been a key growth driver for this company since the beginning.’ Mr Lastrucci added: ‘As well as continuing to break new ground with our world-class

ampliﬁers, the listing will also allow Powersoft to keep its place as a global leader in the provision of OEM solutions for some of the industr y’s leading loudspeaker manufacturers. We are ver y excited about the new oppor tunities this move is opening up for both Powersoft and our customers, and we look for ward to maintaining the high standards that we have become known for over 23 years.’ www.powersoft-audio.com

ROSS VIDEO PRODUCTS MERGE WITH ANEMAN WORLD: Ross Video and Merging Technologies are collaborating to integrate the former’s products, such as the Bach Liberty, into the latter’s Aneman audio network management solution. Both manufacturers will create an open network control and monitoring framework based on the Aneman engine, which will be hosted on GitHub, allowing workﬂows to be developed by independent contributors. This

will ultimately create a ‘full-stack’ solution enabling manufacturers using the Dante Brooklyn II module to address new markets requiring full AES67 and ST 2110 compliance by combining the Back Liberty module and Aneman. ‘I believe that many markets have been thirsting for this integration of open technologies, and I expect that we can build on this project to ultimately create a platform that is to the live media networking world what Linux has been to the world of computing,’ said Nestor Amaya, VP of infrastructure at Ross Video. ‘We are delighted to see Ross Video join the Aneman network management ecosystem, which will allow all main open AES67based solutions to interoperate on a uniﬁed software platform,’ added Claude Cellier, CEO of Merging Technologies. www.aneman.net www.merging.com

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Januar y–Februar y 2019 PRO AVL ASIA 13

NEWS: BUSINESS

Biamp acquires CSM WORLD: Biamp has acquired Cambridge Sound Management (CSM) from Gladstone Investment Corp. The acquisition forms part of Biamp’s ongoing growth strategy combining organic product line and distribution expansion with entry into new markets via acquisition.

Rashid Skaf CSM is a manufacturer of sound masking solutions that reportedly makes up around 50% of that particular market with more than 20,000 installations around the world, including more than half of the current Fortune 100 companies. It differentiates itself by producing direct and in-plenum sound masking products. As a result, Biamp will be able to offer sound masking

capabilities as part of its wider solutions. ‘The acquisition of Cambridge Sound Management unites two great brands in the professional audiovisual market,’ said Biamp president, CEO and cochairman Rashid Skaf. ‘It has been just one year since I led the acquisition of Biamp with Highlander Partners with the stated intent of leveraging it as a platform to build a respected provider of comprehensive audiovisual solutions. This transaction is the first evidence of that strategy being implemented but far from the last.’ CSM will initially form part of the Biamp product range. Over time, CSM’s business functions will merge into the Biamp brand. Meghann Ellis, who now serves as general manager of CSM, commented: ‘We believe that Biamp is a perfect fit for our business and look forward to contributing to its continued success. Biamp’s broad reach into the professional AV world will help to enhance Cambridge’s leading position and presents us with access to significant new channels for growth.’ www.biamp.com www.cambridgesound.com

Jack Gill

MD Events Asia adds to Shure inventory MALAYSIA: Having started operations in 2006, MD Events Asia has grown to serve a large customer base across South East Asia. The Kuala Lumpur-based rental company has continually turned to Concept Audio for its equipment needs, so when it came time to upgrade its wireless microphone systems and personal monitoring solution, it turned once again to the distributor and acquired 20 channels of Shure ULX-D digital wireless microphones and 16 channels of PSM 300 personal monitoring. ‘The ULX-D digital wireless system was the clear choice for

our many needs as it provides exceptionally detailed wireless audio in widely diverse and demanding environments,’ explained managing director of MD Events Asia, Jack Gill. ‘On site, it’s vital that we can quickly and easily set up our wireless systems. As ULX-D can be network controlled via the Workbench software, our working lives have been simpliﬁed. It allows us to use up to 560 channels in 72MHz or 63 channels in a single 8MHz TV band. This is really useful for live performances as the RF environment can change a lot before the show starts.

‘Furthermore, we don’t need to worry about the battery life of the Shure SB900 [rechargeable battery] during relatively long events, as the transmitters and receivers can operate for up to nine hours of runtime.’ The PSM 300, meanwhile, was chosen due to its stereo monitoring capabilities on stage. Transmitting in stereo allows MD Events Asia to enable the system’s Mix Mode functionally on the bodypack, allowing users to control their own mix while performing. www.conceptaudio.com.my www.mdeventsasia.com www.shure.com

7KH 3$ 3HRSOH SURYLGHV D VROXWLRQ ÀW IRU .LQJV AUSTRALIA: The PA People has invested in a Bose ShowMatch Delta-Q array loudspeaker system for its Event Communications depar tment. The system was added to The PA People’s rental inventor y following a recent successful bid. ‘We were asked if we would like to bid for the provision of audio and comms suppor ting the Sydney Kings home games at Qudos Bank Arena, and it seemed like a great oppor tunity to invest in a speaker system to suppor t our communications system offer,’ explained Chris Dodds, managing director of The PA People. ‘I ﬁrst heard the ShowMatch system before its release and I was impressed. We had used a demo rig on a show earlier in the year, and we recently installed a small system at Riverside Stables. We were again impressed at what we heard.’ The PA People has adopted an entirely Dante-based signal distribution network for Kings basketball games, as the system

is set up and taken down on a regular basis. The system includes a Yamaha QL console and a pair of Rio1608 boxes to distribute the audio for the video replay systems, the OB trucks and the Bose PA setup. ‘The rig for the Kings consists of six arrays, each comprising eight ShowMatch cabinets and a cardioid bass array of three 18-inch SMS118 subcabinets,’ noted Mr Dodds. ‘Each pair of

14 PRO AVL ASIA Januar y–Februar y 2019

main arrays uses a different combination of SM5 (5°), SM10 (10°) and SM20 (20°) cabinets to

achieve the appropriate vertical dispersion. We have then selected 100° waveguides for the SM5 and SM10 cabs, and 120° guides for the SM20s. That way we are able to match the dispersion of each cluster to the requirements of the venue in both vertical and horizontal planes.’ Four SM20 enclosures were also installed on the lower ring of the gondola to bring the sound image courtside for those seated nearer the action. The PA People also supplies a Clear-Com communications system for games that is formed from a Delta matrix frame, V-Station matrix panels, HelixNet digital partyline beltpacks and an integrated FreeSpeak II wireless solution. ‘Having the FreeSpeak system fully integrated with the Matrix panels and the partyline provides us with a level of functionality we haven’t achieved before at the Kings, and the wireless coverage is fantastic in a venue where many other suppliers have failed,’ said Matt Byles, technical

director for Great Big Events, the presentation partner for Sydney Kings. ‘Basketball is one of the few sports that can capitalise on an indoor environment and we are able to deliver a sonic experience that ampliﬁes the entertainment value built around our home games,’ noted Don Elford, group marketing manager at AEG Ogden, the venue management company that oversees the Qudos Bank Arena and the majority owner of Sydney Kings. ‘Our conversations with The PA People and consequent partnership with Bose identiﬁed that we could work together to exceed our sound expectations.’ The purchase of the Bose system marks a return to the large-scale audio rental market for The PA People. ‘We left the market with the sale of our iconic Turbosound TMS-3 rig in 1995,’ said Mr Dodds. ‘It is great to be back in the space with a new market-leading sound system.’ www.papeople.com.au

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Feroz Mya Aye, Ruben James and Remo Martufi of AED SINGAPORE: Belgian dry hire specialist AED Group recently celebrated the official opening of its first Asian office and warehouse in Singapore. Focusing on the group’s core business, AED Rent SE Asia hires out sound, video and lighting equipment from key

brands exclusively to professional production companies in the region and India, while supporting the company’s efforts in China and Australia. ‘Singapore is well-situated in terms of geography, culture, economy and stability,’ explained Remo

Martufi, chief commercial officer at AED Group, regarding the choice of location. With experience from four existing subsidiaries across Europe and clear priorities, AED knew it would take time to expand into another continent. ‘We started talking more than three years ago to make sure we have the right people,’ Mr Martufi recounted. Occupying 1,200m2 and spanning five floors of mainly rental warehouse, logistics and office space, the Singapore facility, headed by managing director Ruben James and assisted by commercial director Feroz Mya Aye, also offers consumables such as tapes and tools, fluids and bulbs, as well as DJ and second-hand equipment for sale. However, the new office, located in close proximity to a

AudioMaxx boosts rental inventory INDIA: AudioMaxx has added to its rental inventory with the purchase of Dynatech DEL-115 and HP-12A+ loudspeakers,

as well as JTS TK Series vocal microphones and a GM-5212 podium mic. Sonotone serves as the Indian distributor for both

manufacturers and facilitated the sales. ‘The Dynatech DEL-115 passive and HP-12A+ active speakers form the perfect addition to complement my existing inventory,’ said Kiran Ghadole of AudioMaxx. ‘As for the JTS microphones, our new TK Series and GM-5212 mics have lived up to expectations, delivering a high-quality performance for all the events that we have deployed them for.’ Events that the solutions have been deployed for include the Mr & Miss India Globe auditions and the DGR Job Fair for Ex-Servicemen. www.dynatechaudio.com www.jts.com.tw www.sonotone.in

number of production companies, is not AED’s only facility in town. ‘Because we cannot store everything here, we also have additional spaces in other parts of Singapore just for storage and for when larger shipments go in or out,’ said Mr James. Future plans include further increasing the group’s physical

presence in the region under AED Rent SE Asia’s management by creating similar, smaller versions of this setup in neighbouring countries. Mr Martuﬁ added: ‘We will see where the markets evolve, then open local hubs.’ www.aedgroup.com

More thumbs up from the entire AED Rent SE Asia team

79/RJLF DFTXLUHV ,6 PLQL IRU FRORXU FRUUHFWLRQ WORLD: TVLogic has acquired WoWoW Entertainment’s colour management solution business and plans to integrate the ISmini image processing system and WonderLookPro colour management software into its display technology in 2019. ‘TVLogic is now equipped with unparalleled leadingedge technology in the colour reproduction area,’ commented Denny An, TVLogic director of worldwide sales. ‘The IS-mini and the WonderLookPro are based on the world’s best

LUT technology and we expect that these solutions will play a pivotal role in overcoming colour management problems in the industry.’ According to the terms of the deal, TVLogic has secured all the technology, personnel, assets and intellectual property rights relating to the IS-mini platform and the WonderLookPro (WLP) software. Both products will now be marketed and sold under the TVLogic brand. www.tvlogic.tv

6RXQGNLQJ FHOHEUDWHV \HDUV RI VRYHUHLJQW\ CHINA: Founded in 1988, Soundking recently celebrated 30 years in business. Over the course of three days, the Chinese pro audio manufacturer treated almost 1,000 guests to live performances, parades and demonstrations in its home city of Ningbo. The festivities kicked off with an evening cocktail party alongside Dongqian Lake. The following morning, 800 Soundking employees formed a parade, while Wang Xianggui, president of Ningbo Soundking Group, delivered a welcome address. Guests were then able to explore the six newly opened demonstration areas, totalling 10,000m2 of the Soundking facility. The six areas

are: the intelligent new technology science hall, where visitors can explore the latest technology and products; the AV and stage art science experience centre, a 2,500-seat indoor stadium equipped with Soundking’s CDC

16 PRO AVL ASIA Januar y–Februar y 2019

Revb control system, Cadac digital and analogue consoles, a K&F Vida system and a patented microphone matrix; the Dolby Atmos digital cinema experiment base; a 5228 immersive digital cinema; a recording studio; and

multifunctional halls with VR, remote video conference and remote monitoring functionality. ‘After 30 years of development, Soundking is a rising corporation with a strong reputation around the world,’ said Soundking president, Huang Xianggui. ‘We will adjust from a manufacturer that specialises in one type of product to become a systems integration provider, covering markets such as AV, public address, conferencing systems and stage lighting. Soundking will continue to develop its own products and keep its commitment to quality as well as to build a community of partners with shared interests. We aim to make Soundking one of the top 10

companies in pro audio over the next 10 years.’ Soundking also hosted an awards ceremony and a 3D show using its own technology, including the debut of its front-projected holographic display. ‘Soundking has accomplished a lot in 30 years,’ said Zhu Xincun, chairman of the China Entertainment Technology Association. ‘They grew from a small factory with less than 20 people to 1,500 employees today, all from manufacturing accessories for more than 4,000 products and by acquiring brands like Studiomaster and Cadac.’ www.soundking.com

NEWS: BUSINESS

Rane Brothers adopts Leopards INDIA: Rane Brothers Sound System, a Mumbai-based rental company that specialises in classical concerts, has invested in a substantial stock of Meyer Sound Leopard line array systems and 900-LFC low-frequency control elements. The purchase was facilitated by Meyer Sound’s Indian distributor, Sun Infonet. ‘Due to an increase in demand for the latest equipment for classical shows, we were looking for a system that could deliver the best quality of sound to reinforce vocals

so that the listeners can enjoy traditional acoustic instruments such as the flute, sitar, sarod, tabla and mridangam,’ explained Prashant Rane, sound engineer and owner of Rane Brothers. ‘We had listening tests comparing different brands. Each of them had their own unique features, but we chose to invest in Meyer Sound. The main reasons were its reliability, easy-to-use technology and the linear sound the systems deliver. An added benefit is the global reputation that the Meyer Sound brand commands and, after adding it to our inventory, I am more confident that we will be able to exceed the expectations of our customers.’ Rane Brothers first deployed the new system for a corporate, classical-fusion concert performed by santoor maestro Rahul Sharma and his band in Mumbai. The concert was attended by 1,000 Indian and international delegates. Mr Rane used the Leopard’s Native Mode, negating the need for external processing and saving time on set up. www.meyersound.com ranebrotherssoundsystem.justdial.com www.suninfonet.net

Super 4 tackles noise pollution

JAPAN: Japanese rental company Super 4 has invested in 18 Martin Audio WPC loudspeakers and six SX218 subwoofers for use at live events such as concerts and pro wrestling. The purchase was made in response to noise pollution problems and was facilitated by Martin Audio Japan. ‘It has been 18 years since we established Super 4 and during that time we have expanded from our ﬁrst purchase of a microphone up to the level where we can handle major events by ourselves,’ said the rental company’s owner, Mr Higasa. ‘All the while we have watched developments with Martin Audio and experienced MLA and MLA Compact.’ When Mr Higasa’s company faced a noise pollution issue, he looked into WPC and its control options

as a solution. ‘I am very excited to see how it will contribute to our business in terms of quality and scalability. At the same time, we have also introduced Martin Audio’s

XE300 to our hire stock. The lowproﬁle design is excellent and I was surprised how powerful it is in spite of not requiring any major tuning. This will be extremely useful when set up time is restricted.’ Super 4 president Mr Seki discussed how the new system will beneﬁt the professional wrestling events that the company supplies: ‘Recently, this has been increasingly focused on entertainment and so the sound quality for the show is getting more important. We know that WPC will be able to deliver clear and powerful sound to every seat in the arena.’ www.martin-audio.com

Rohde & Schwarz acquires Pixel Power WORLD: Rohde & Schwarz has acquired Pixel Power Ltd, a developer of broadcast graphics and playout technology solutions. The acquisition forms part of Rohde & Schwarz’s strategy to expand within the broadcast playout market. Pixel Power will continue as a subsidiary, formally named Pixel Power Ltd. ‘With the acquisition of Pixel Power, we are signiﬁcantly

expanding our broadcast and media portfolio with new and exciting solutions,’ said Cornelius Heinemann of Rohde & Schwarz. ‘Together, we can combine softwaredeﬁned technologies and virtualised environments to offer customers the very real beneﬁts that they provide in the broadcast playout and VOD markets.’ James Gilbert, co-founder and

James Gilbert

CEO of Pixel Power, commented on the acquisition: ‘Our virtualisable integrated playout technology is making a major contribution to Rohde & Schwarz reaching its ambitious goals for cloud-based solutions. Our modern licence and payment model also contributes to this. In return, Rohde & Schwarz’s size, stability, structures and competencies offer optimal

opportunities for the further development of our products and the expansion of our worldwide sales. We believe this combination will beneﬁt our customers enormously.’ Mr Gilbert, along with Pixel Power’s CTO Nick Wright, will remain with the company in their current roles. www.rohde-schwarz.com

ProSource committee visits Asia ASIA: ProSource, a cooperative, member-owned, not-for-proﬁt buying group based in Texas recently conducted strategic planning meetings with key audio vendor partners across Asia, including Harman, Sony, Sound United and Yamaha. The group is formed of custom integrators and specialist consumer electronics retailers. ProSource president and CEO Dave Workman and purchasing manager Scott Zitter took part in the meetings along with several members of the group’s Audio Committee.

ProSource visiting Harman

18 PRO AVL ASIA Januar y–Februar y 2019

‘The Audio Committee’s annual visit to Asia is a tremendous opportunity for our members to directly inﬂuence product design through a collaboration with our vendor partners,’ explained Mr Workman. ‘The input of the committee directly impacts the dynamic growth of the audio products category for the group.’ Ryan Heringer, one of the committee members and president of Sound Concepts, added a custom integrator’s perspective: ‘It was impressive to learn how products are designed and built for the mass

market versus the CI channel. Our vendor partners listened to our needs and are committed to bringing product models to market that will help us grow our businesses.’ ‘We highly value ProSource’s input on the direction of the audio business in North America,’ said Kevin Zarow, VP of Sound United. ‘Our relationship with the group stems from a respect for the power of collaboration with mutually beneﬁcial results.’ www.prosourceinfo.com

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Luxul grows partner programme

BXB maintains Taiwanese excellence TAIWAN: BXB once again enjoyed a successful evening at the Taiwan Excellence Award Ceremony. Three of the manufacturer’s products received prizes during the 2019 edition of the awards: the Q.con image auto-tracking video conferencing solution; the ICP-5000 IP-based smart campus solution; and the Clax smart lecture recording system. The three products were chosen by the Taiwan External Trade

Development Council as winners from a candidate pool of 1,127 submissions. To date, BXB has won 18 Taiwan Excellence Awards. ‘BXB spends lots of time on optimising product functionality and design, as well as adapting with cutting-edge technology,’ said BXB founder, Mr Wu. ‘We integrate cross-ﬁeld AV techniques to develop products that meet customers’ various demands.’ www.bxb.tw

WORLD: Luxul has added several new members to its partner programme, which is designed to add value to the IP networking solutions manufacturer’s network of integrators and customers. The list of partners has recently grown to include Kramer, Crestron, Sonos, Atlona, Key Digital, WyreStorm, Blustream, Just Add Power, URC, Chief, Contemporary Research, D-Tools, Da-Lite, Global Cache, Hiperwall, iPort, Sonance, IC Realtime, Middle Atlantic Products, MuxLab, Nortek, Nuvo,

On-Q, QMotion, QSC, RTI, Sanus, Savant, Screen Innovations, Simpliﬁed, Vaddio, Vanco, Vantage and C2G. Integration partners include Domotz and Router Limits, while industry partners comprise the likes of CEDIA, Audinate and ProSource. ‘Professional-grade networking products form the foundation for residential and commercial systems, but they are only part of the overall solution,’ explained Mike Grubb, vice president of marketing at Luxul. ‘It takes a

WORLD: MOG Technologies has joined Panasonic’s 4K Workﬂows Partners programme. Joining the programme signiﬁes MOG’s commitment to supporting Panasonic’s new developments. MOG has been collaborating with Panasonic since 2007. The company is a P2 and AVC-Ultra Partner due to the developments

made for both its MXF media libraries and mxfSPEEDRAIL central ingest system over the last decade. MOG’s mxfSPEEDRAIL and SkyWatch systems support Panasonic’s VariCam 4K workﬂow, including all AVC-Intra 4K formats and Memory Card Drive, AUXPD1 and AU-XPD3. This support also extends to the Compact

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wide range of components to deliver the experience customers want, and we don’t believe integrators should be limited to speciﬁc components by their network manufacturer. That’s why we’ve partnered with a number of industry-leading manufacturers to ensure compatibility between our products and many others, while also incorporating their advanced technologies into our solutions to deliver increased functionality.’

Cinema Camera AU-EVA1. ‘Being a pioneer on the support for Panasonic devices and codecs, the formalisation on the 4K Workﬂows partnership level was a natural step,’ said a MOG Technologies spokesperson. www.mog-technologies.com pro-av.panasonic.net

NEWS: BUSINESS

Neumann recognised for service to the industry WORLD: To start the Audio Engineering Society’s 145th International Convention (AES New York 2018), Neumann has been presented with a Service to Industry award. Marking the company’s 90th anniversary, the award recognises the German innovator’s long, standard-setting legacy of engineering prowess in the development of microphones for studio and live performance together with its advancement of microphone technology. Neumann president Wolfgang Fraissinet received the award from

AES international sales director Graham Kirk and multi-Grammy Award-winning engineer/mixer Al Schmitt. ‘Professional audio is my passion and I have great friendships as a result,’ Mr Fraissinet commented. ‘I met Al as a friend and even though he is a celebrity in this industry we remain good friends. It is an honour to receive this award from such a great friend. The 90-year legacy of Neumann is contained in a magazine on our booth. We are always working closely with artists and engineers to develop new products but the anniversary in

10 years time will surpass all of this, I can assure you.’ Following the presentation, sessions conducted by leading engineers and manufacturers including Neumann and Sennheiser began as the convention doors opened. In addition, the All Access Technical Program provided four days of educational and inspirational workshops, tutorials and white papers on the Javits Center’s ground ﬂoor. www.aesshow.com www.neumann.com

Q-Sys Web Conference Integration awarded patent WORLD: QSC has been awarded a utility patent from the United States Patent and Trademark Ofﬁce for its unique Q-Sys Web Conference Integration system. The patent (USA 9,973,638) was awarded for the system’s ability to deliver an IP camera stream from Q-Sys PTZ-IP conference cameras into soft codec applications such as Skype for Business via

for long-haul transfers of audio, video and control data,’ said Ryan Pring, senior technical director of Q-Sys. ‘This design eliminates the need for expensive USB and HDMI extenders and point-to-point wiring, which translates into a more simpliﬁed, cost-effective design.’

a driverless USB connection and also recognises how the Q-Sys Platform can discover and control Q-Sys IP conference cameras using a standard Ethernet network. ‘The Q-Sys Web Conference Integration solution provides an ITcentric approach by combining the universal ease of USB connectivity with the ﬂexibility of the network

www.qsc.com

1/2 PAGE

Januar y–Februar y 2019 PRO AVL ASIA 21

NEWS: BUSINESS

$EVHQ ODXQFKHV &KLQHVH RIÀFHV CHINA: Absen recently opened its first office in China, selecting Shanghai as the location due to the city’s standing as a global financial hub, its strong transport links and its vast population. This was closely followed by the opening of an office in Beijing to support the manufacturer’s partners and customers in the Northern Chinese markets. The 400m2 Shanghai facility is located in a modern office building along Zhongchun Road in the Minhang district. It comprises an 80m2 showroom, as well as

ATLONA JOINS D-TOOLS WORLD: Atlona has joined the D-Tools Cloud and i3 (Industr y, Information and Insight) programme. This provides D-Tools software users with access to the Atlona product specifications and related information for the sales, system design, documentation, procurement and project management of system installation. ‘Atlona continues to seek new ways to simplify complex projects for our integration par tners, and our contribution to the D-Tools user community will help to accelerate product decisions, ordering and other front-end responsibilities that might other wise delay installation,’ said Gar th Lobban, Atlona’s director of marketing. D-Tools provides an aggregated global product database for systems integrators, installers and retailers. As a D-Tools Cloud and i3 par tner, Atlona gains access to product download analytics to analyse and measure its product pipeline. ‘Having Atlona’s products available in the D-Tools catalogue allows their dealers to quickly find the products they are looking for and accurately represent them to customers on proposals and throughout the project,’ added Barrie McCorkle, director of supplier programmes at D-Tools. ‘This par tnership gives Atlona and its dealers a way to collaborate better together, be more efficient and ultimately be more profitable,’ concluded Mr McCorkle. www.atlona.com www.d-tools.com

products for various applications, including the 4K CR1.2, 2K HDV 1.6, Acclaim A27 and N2 Plus. The new Beijing site serves as an operation hub in the Zhongguancun Environmental Protection Park, which, belonging to the Zhongguancun Science Park, is renowned as China’s answer to Silicon Valley. The 540m2 hub also features a showroom in addition to modern ofﬁce space. Both sites were formally unveiled during opening ceremonies.

Absen’s Shanghai ofﬁce workspaces, reception areas, and meeting and conference rooms. In the showroom, visitors can preview Absen’s latest LED display

The Beijing ofﬁce’s opening ceremony

www.absen.com

Adamson gathers its global network WORLD: Adamson Systems Engineering recently invited more than 120 of its global partners to its Canadian head ofﬁce and manufacturing facility in Port Perry, Ontario. Over the course of two days, those in attendance were given previews of upcoming products. The Adamson Conference kicked off the proceedings at the

sales and marketing strategies. Among the soon-to-arrive additions to the Adamson product catalogue are new members of the S-Series and IS-Series. Guests were also given a sneak peek at newer technologies to be formally announced in 2019. The following day’s activities took place at Adamson’s headquarters. A factory tour and breakout

Madeline Merlo headlines the Winding Roads Country Festival

James Oliver, Adamson’s director of sales and marketing at the Flato Markham Theatre Flato Markham Theatre in the neighbouring city of Markham. The conference comprised presentations and demonstrations, highlighting the manufacturer’s approach to product development, as well as new technologies and

group meetings were followed by a look inside the newly built Adamson Education Centre. ‘Strong, standardised education is paramount to Adamson’s integrated system offerings,’ explained Jeremiah Karni,

Adamson’s head of education, who oversaw the completion of the Education Centre. ‘The Adamson Education Centre will be the epicentre of those efforts going forward, and we’re very proud to have been able to inaugurate the space with so many members of our global team.’ That evening, Adamson hosted its third annual Winding Roads Country Festival on the grounds of its headquarters. Members of the local community joined Adamson’s partners for the sold-out event, which included performances by Canadian Country Music Awardwinner Madeline Merlo as well as local artists Ben Hudson and Brad James. All proceeds went to support the Big Brothers and Big Sisters of North Durham.

‘We’ve welcomed a signiﬁcant number of new partners to the Adamson Global Network over the past few years amid a period of strong year-over-year growth,’ explained James Oliver, Adamson’s director of sales and marketing. ‘We’re very proud of the way our international team has supported these partners to date, but recognised an opportunity to bring everyone together, offer a preview of upcoming product releases, and leverage ideas and resources to reinforce a shared vision for continued growth and success. The event was over a year in the making and we couldn’t be happier with how it all came together.’ www.adamsonsystems.com

Yamaha extends CS-700 warranty WORLD: Yamaha Uniﬁed Communications has extended the warranty for its CS-700 Series video sound collaboration system to three years. ‘Our broadened warranty for the CS-700 offers the most comprehensive protection coverage available for a professional collaboration

22 PRO AVL ASIA Januar y–Februar y 2019

system,’ claimed Mike Fitch, VP of global sales and marketing, Yamaha Uniﬁed Communications. ‘This policy will give customers conﬁdence in their huddle room investment and peace of mind maintaining installations, even years down the road.’ uc.yamaha.com

Ƹ8LI EGGYVEG] [EW XLI ǻVWX XLMRK . RSXMGIH . TYPPIH up a session that I knew needed some work in one particular area. Right out of the gate I heard it. I’ve never had that happen with a PA at the scale of the al-12. And output was equally impressive. Whatever level I wanted, I got, and with room to spare.”

Kyle Hamilton FOH Engineer, Janet Jackson SOTW Tour 2018 Neversleep Productions

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Resorts World Genting stars L-Acoustics K2 MALAYSIA: The Arena of Stars, a 5,000-seat venue located at Genting Highlands and owned and operated by Resorts World Genting (RWG), has recently upgraded its sound system to an L-Acoustics K2 setup. ‘This arena hosts about 12 international concerts and eight corporate events each month,’ said Kevin Tann, vice president of promotions and entertainment for RWG, during a launch event for media, promoters and production companies. ‘It requires a worldclass system that is as reliable as it is outstanding.’ K2 was chosen to deliver the expectations of artists, music producers and sound engineers. ‘Now, whenever we tell any of the artists we engage what we have, it is a straight “yes” and “thank you”,’ said Mr Tann. ‘Together with L-Acoustics’ applications engineer for Asia, Alvin Koh, we designed the system in the Soundvision simulation software,’ explained Zoul Mohd, business development manager at Sennheiser Asia, L-Acoustics’ regional distributor. The design comprises two main hangs of 12

Resort World, Sennheiser and Tegas management onstage during the launch event K2 modules each, supplemented by two hangs of 10 K2s for the far left and right. With a total of 44 boxes, it constitutes the largest K2 system installed in Asia, according to L-Acoustics. Sixteen subs, a mix of K1-SBs and KS28s, and several Kara elements for near-ﬁll complete the system. Four LA4X and 20 LA12X ampliﬁed controllers power the setup. With the venue’s busy schedule, the system had to be shipped, installed and tuned within a short timeframe, while challenges posed

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by construction and the layout of the venue needed to be overcome. ‘We managed to minimise reﬂections from the back wall by adjusting the aim and HF throw of the top K2 modules,’ recalled Mr Mohd. With the front rows of the audience usually very close to the stage, which is variable in depth, eight Kara elements were positioned near the stage lip as front-ﬁlls. Similarly, to achieve a wider dispersion of low frequencies,

an initial design of four stacks of four subs each was slightly rearranged at the recommendation of L-Acoustics. Kuala Lumpur-based Tegas Broadcast & Multimedia was contracted for the installation of the system. ‘Due to weight load restrictions of the roof we could not ﬂy subwoofers,’ said Joshua Seow, business development manager of Tegas. ‘But even though the new system is larger than the former one, we did not increase the total load thanks to

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the individual K2 speakers being lighter. ‘With the new system, the coverage was dramatically improved. Compared with the past, when sound on the sides and in the far back was rather poor, we now have even and uniform coverage throughout the entire venue.’ Mr Tann conﬁrmed: ‘During recent shows, I went to each and every section of the arena to experience the sound, and found you hear everything, you feel every single punch when you’re supposed to feel it, and you don’t miss a thing. What [Tegas] has done for us exceeded our expectations. We are very pleased with the professionalism, the level of service they give.’ ‘We are thrilled that RWG chose L-Acoustics for the Arena of Stars,’ said Vince Tan, Sennheiser Asia’s vice president of pro audio solutions. ‘And we are thankful for the strong support from L-Acoustics and the close cooperation with Tegas and Resorts World.’ www.l-acoustics.com www.rwgenting.com/aos www.sennheiser.com www.tegasbroadcast.com.my

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AUSTRALIA: Gearhouse Broadcast recently handled the OB production for this year’s Supercheap Auto Bathurst 1000 supercar races in what was Australia’s ﬁrst live 4K UHD broadcast. The broadcast rental company employed a range of Grass Valley solutions, such as the Kahuna 9600 production switcher and NVision Compact router, to manage a broadcast on location at the Mount Panorama Circuit and at Fox Sports Australia’s studios. The 1,000km race was broadcast over the course of six hours on

Foxtel’s newly launched Channel 444 without any commercial breaks. Signals sent to Fox Sports Australia were switched and monitored via a Sirius 800 Series router with an MV-800 multiviewer before delivery to Foxtel for ﬁnal switching and transmission. The Fox Sports control room features a 4K UHD live channel playout system that uses Grass Valley’s Masterpiece master control switcher, controlled by Morpheus Automation. Channel playout was supported by an iTX integrated

playout platform, a GV Node realtime processing and edge-routing solution and Kaleido-X multiviewers for monitoring the satellite uplink feed. ‘Motorsport is all about speed and, with no advertising breaks, everything had to run without a hitch from start to finish,’ said Ben Madgwick, manager of broadcast services at Gearhouse. ‘What we needed was an OB infrastructure and workflow that could seamlessly handle the sheer volume of 4K UHD signals, deliver flawless images to viewers at home and ensure a smooth flow of files between the OB truck, Fox Sports Australia and Foxtel. We know from experience that Grass Valley has a proven track record in handling the huge pressures that arise with live productions in fastpaced environments like motor racing. We are very proud to have partnered with Grass Valley to help make Australian broadcasting history.’ www.gearhousebroadcast.com

MYANMAR: Padamyar FM has been equipped with a Lawo crystal mixing console, Compact Engine AoIP mixing platforms and VisTool GUI-builder software as part of a recent renovation. The systems were installed by Elevate Broadcast. The radio station’s on-air control room now possesses a 12-fader crystal console, augmented by a VisTool virtual mixer that extends the crystal’s mixing capabilities. Custom VisTool presets enable the instant recall of source assignments and other settings across both mixing devices simultaneously. VisTool has also been combined with a Lawo Compact Engine in the station’s master control room. This is used to route and mix signals throughout the facility and can bypass the on-air studios during emergency broadcasts. ‘Padamyar FM’s unique workﬂow showcases the

seamless combination of physical and virtual control sur faces throughout the radio station,’ said Boon Siong Tan, Lawo sales director. ‘It’s a wonder ful example of how traditional and computer-based broadcast tools can complement each other.’ www.lawo.com www.elevatebroadcast.com

www.grassvalley.com

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Kling & Freitag GmbH | www.kling-freitag.com

July–August 2017 PRO AUDIO 25 May–June 2018 11 July–August 37 Januar y–Februar y 2019 January–February 35 March–April 2018 95 November–December 2017 PRO AVL ASIA 11

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. DUUD\ FOLPEV -DFRE·V ODGGHU SINGAPORE: Managed by Marriott International, The St. Regis Singapore is one of Singapore’s most esteemed hotels. In addition to hosting international politicians, renowned stars and VIPs at its Tanglin Road address, it also attracts a multitude of social and business events ranging from the intimate to the opulent. Measuring 31.4m x 22.6m for entertaining between 480 (banquet) and 600 (theatre) guests, the John Jacob Ballroom is the jewel in the crown among the ﬁve other distinctive event rooms on offer. The technicians assigned for the project – Concept Systems Technologies – were required to reposition the speakers onto a separate truss for larger events when the rooms are combined. ‘The acoustics of the room are somewhat harsh,’ reveals CST project manager, C K Lim. ‘There are many mirrors and hard wall surfaces in this space that add up to a high STI. As such we have kept the audio levels as low as

The 6m cabling drop from the ceiling to the speaker points proved to be one of the main challenges for the CLS team on site possible to ensure reverberation is minimised.’

Having conducted acoustic tests and simulations, Mr Lim opted to install a K-array Kobra loudspeaker system into the 709m2 venue. Selected on account of their discreet profile and powerful 118dB SPL output, each KP52 2-inch model operates within a 150Hz to 20kHz (–10dB) frequency spectrum. Powered by a single K-array KA84 4-channel DSP amplifier and affixed to the lighting trusses, low-frequency extension to 35Hz has been created with the addition of four K-array ThunderKMT18P 18-inch subwoofers. Bracketed to the front and rear walls of the rooms as L-R systems at a height of 2.3m, Mr Lim expands on the main challenge facing his team. ‘We had to route the cabling from the KA-28 4-channel amplifier in the control room to each of the eight Kobra speakers within the walls of the room without creating any new channels that would deface the room’s interior. Ultimately, we ran the cables behind rising

LF extension down to 35Hz has been created by installing four K-array subwoofers on two separate trusses marble panels.’ Having precisely calculated the 6m drop from the ceiling to each termination output, Mr Lim drilled discreet

holes in the marble with a sufﬁcient enough diameter to allow the cable to pass through. In addition to providing an unobtrusive, sensitive audio solution into the John Jacob Ballroom at The St. Regis Singapore, CST also integrated a Crestron AV3 wireless media control system. Connected to a Linksys 16-port POE network switch, the facility managers can now manage the audio, lighting and video parameters of each ballroom from an iOS 10.1-inch wireless touchscreen. Additionally, extra video inputs have been added in the form of an HD Datavideo PTZ camera system accessed via RMC-180 remote controllers. A pre-existing Kramer HQV VM-1055 distributor ser ves as the matrix for the video inputs that are output to the Panasonic PT-EX12KE LCD projectors and digital signage system. www.concept-systems.com.sg

7KH 0DUYHO ([SHULHQFH 7KDLODQG -$$ 6\VWHPV EDODQFHV EXGJHW WHDPV XS ZLWK 0DKDMDN DQG TXDOLW\ THAILAND: Superhero fans looking for an immersive, entertainment adventure can now do so at The Marvel Experience Thailand. Guests become instantly engaged as newly recruited agents of SHIELD (the Strategic Homeland Intervention Enforcement and Logistics Division), and undertake a mission with the likes of Iron Man, Captain America, Thor and the Hulk. The two-hour immersive, interactive experience utilises the latest in AV innovations, including a vast lighting setup installed by Mahajak. ‘The client required a lighting system that complemented the experience, immersing guests in all the action and a system that was easy to control at the touch of a button,’ said Mahajak. ‘We worked with the lighting designer to achieve the desired effects of the show and then complete the installation of all the equipment.’

The lighting designer, Steve Nield, worked alongside the teams from Light Source and Show Works. These teams, along with Mahajak, were given a short timeframe in which to complete the project installation before the attraction opened to the public. Delving into the Martin Lighting catalogue, Mahajak supplied 84 Exterior Wash 110 LED ﬁxtures for the outside of the building, 58 Rush MH 6 Wash moving heads,

10 Atomic 3000 LED strobes and 18 MAC Aura fixtures around the interior. In addition, 198 Martin VDO Dotron outdoor-rated video pixels, designed specifically for 3D stage setups, were deployed. ‘Marvel is extremely popular with fans in Thailand and this is the first installation of its kind here or anywhere in the ASEAN region,’ said Mahajak. ‘We had to make sure it was amazing. Although we faced various hurdles during set up, and such a tight timeframe, the work was completed thanks to the professionalism of the teams from Light Source and Show Works. It was a superhero success.’ www.lightsource.co.th www.mahajak.com www.showworks.co.th www.themarvelexperiencethailand.com

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MALAYSIA: Xin Yuan FM, an online radio station located at Young Buddhist Association of Malaysia (YBAM), recently started broadcasting. JAA Systems installed the complete studio setup. Xin Yuan translates as ‘Wish’ in Mandarin. The station’s president, Lim Gim Shin, elaborated on the name: ‘We wish to spread positivity and harmony to all our listeners through Buddhist teachings.’ ‘It was a small, but interesting, project,’ said Kaartigayan Gunasegran, sales engineer at JAA Systems. ‘Xin Yuan FM is a charitable organisation and we helped to build a professional online radio station at a minimal

cost. Finding the right balance between good-quality equipment and staying in budget was not easy, but we managed to offer a solution that met Xin Yuan FM’s expectations.’ JAA Systems installed an Allen & Heath XB-14 analogue radio broadcast mixer along with AKG microphones and headphones, Mackie speakers and a JK Audio telephone hybrid. ‘JAA Systems went the extra mile to provide us with a good-quality solution,’ said Ng Suet Yuan, VP of Xin Yuan FM. www.jaasys.com www.xinyuanfm.com

Evolving with you. Best choice for your business. Be it a congress, a summit or an important meeting: the new G4 300 Series uses the power of an increased switching bandwidth of up to 88 MHz. New frequency ranges allow to operate multi-channel setups with dozens of channels while securing reliable operation. Let your word make a difference with evolution wireless G4. www.sennheiser.com/g4

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Legend of Fusion

Exclusive: Bose equips new Mumbai bar in WTC INDIA: A new bar/restaurant, Hammer and Song, has opened in Mumbai’s World Trade Centre on Cuffe Parade. Designed by acoustician Milind Raorane and installed with a Bose RoomMatch speaker system, Hammer and Song is the ﬁrst bar to open in the building, which was built in 1970. Proprietor Amrish Arora has run a family restaurant called Flamboyant in the WTC for the past 11 years, and wanted to introduce a new concept to the building. ‘We wanted Hammer and Song to be classy but, at the same time, a homely place where people would feel comfortable, and wouldn’t feel the need to dress up to come here,’ he said. ‘The current trend in interior décor is for everything to be industrial and stripped back, but we decided to make it neat, with simple lines, moving towards a more comfortable look.’ Hammer and Song hosts DJs every night as well as a Sunday brunch slot. Patch bays have been

provided around the room so that live bands can also perform in the venue. A pair of Bose RoomMatch Delta Q array modules handle front of house sound together with a RoomMatch RMS218 VLF sub and an MB24 modular bass speaker. The mezzanine level has an L-R

system of two RoomMatch Utility RMU 208 small-format speakers, with six RoomMatch Utility RMU 108s as ﬂoor-ﬁlls, boosted by two MB210 compact subs. The system is driven by a combination of Bose PM8500 and Crown XTi 4002 amps, with RCF QPS 9600 for the subs, and

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system control is handled by a Bose ControlSpace ESP-4120 DSP engineered sound processor. The venue is also installed with an Allen & Heath GR05 zone mixer. ‘I’m very happy with how it has worked out; Milind has done a great job with the Bose system, and I’m thrilled with the sound,’ continued Mr Arora, who is keen to point out his new venture isn’t a nightclub, instead promoting it as a high-energy bar and gastro pub. ‘India is metamorphosing into a drinking culture and there was no place down here on Cuffe Parade like this. Other areas of Mumbai are rocking, but not here. We have good parking and security and this is a good catchment area, with lots of apartment buildings nearby.’ pro.bose.com

CHINA: Blackmagic Design’s Fusion Studio software was used by CG/VFX designer Alex Koryshev from Shenzhen-based Plan B VFX to produce the visual effects for Chinese TV series, Legend of Fuyao.

advanced algorithm shined because I needed to use a small scale for my FastNoise and just copy this map as many times as I needed to cover the whole surface.

Mr Koryshev possesses more than 20 years of CG experience and has used Fusion for six of them. When working on Legend of Fuyao, he was tasked with producing 90 VFX shots, the most challenging of which was to create a scene at a magical lake with a surface covered in hundreds of lotus leaves and flowers, as well as a background displaying a wide landscape featuring a mattepainted horizon. This scene was almost entirely created from CG effects and was shot in a greenscreen studio with a shallow pool constructed to produce the reflections of the cast members and the lotus leaves on set. To create a realistic, reflective water surface, Mr Koryshev made use of Fusion’s true 3D workspace to composite the

‘To achieve the reflection effect, I used the environment mapping technique. In order to have accurate reflection, I had the matte-painted image mapped to a sphere using a SphereMap node before applying it onto the displaced 3D plane. After several adjustments of the material and setting up the mapping, I was pretty satisfied with the result. Reflection at the horizon met the background in the right place, while at the foreground I got the nice sky reflection from my matte-painted picture, and it all perfectly matched with the camera movement.’ Fusion also processed the composition of the hundreds of lotus leaves into the scene in 3D. ‘I was concerned about how many 3D objects with heavy

scene. ‘Fusion’s 3D workspace streamlined my workﬂow by allowing me to handle all 3D compositing work in Fusion itself without the hassle of using an external 3D application,’ he explained. In order to add ripples to the water, Mr Koryshev used a 3D Planar surface in Fusion Studio, displacing it to create a subtle ripple effect before adding in the reﬂection to match the matte painting. ‘For the ripple effect on the water surface, I used an animated FastNoise with UVMap, and that’s where Fusion’s

meshes Fusion could support,’ Mr Koryshev confessed. ‘During the ﬁrst test, I had imported in a 3D fbx model of the lotus leaves that consists of 5,000 polygons, duplicated 1,000 times using a Duplicate3D node to populate the scene with the lotus leaves. To my surprise, Fusion was still able to work smoothly in the 3D scene without any issue. That gave me the conﬁdence to composite this scene all inside Fusion.’ www.blackmagicdesign.com www.planb-vfx.com.cn

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:RUOG ÀUVW +L 5HV UHFRUGLQJ AUSTRALIA: Sony’s new Hi Res 100 Series studio microphones were recently used to record the live première of Australian composer Alan Griffiths’ new album, Rare View. The performance was followed by a rendition of Bach’s Gigue Sonata in A minor, which had never been performed in public on a piano. The piano in use was The Beleura, the world’s first 108-key concert grand piano, built by Stuart & Sons in Tumut, Australia’s only piano maker. ‘Most concert grand pianos have 88 keys but this is the first-known piano ever to be built with an amazing 108 keys,’ explained David Green, Sony Australia product manager. ‘This means it boasts a gigantic nine-octave range which was unheard of on the piano

David Green until now. Due to the incredible range and the immense cacophony of harmonics and high-frequency overtones, it takes a unique kind

of microphone to fully record its range and beauty – which is where the Sony Hi Res 100 Series mics came in.’

Bangkok International Trade and Exhibition Centre (BITEC), Thailand

www.infocomm-sea.com

You know very well that when it comes to live events and entertainment venues, people expect to be wowed.

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But what you may not know is that there is a whole new regional ŴńÝƇğŕŸŋ ûŕŋĭōġ ƍŴ ĭō ɀȾȿɇɕ Ƥĩĭûĩ ŕƷĈŸž ƪŕƍ ƇĩĈ ûĩÝōûĈ Ƈŕ ńĈÝŸō ÝùŕƍƇ how you can keep those wows coming. ĩĈ ĭōÝƍġƍŸÝń ĈāĭƇĭŕō ŕğ Uōğŕ"ŕŋŋ ¤ŕƍƇĩĈÝžƇ žĭÝ ŕƷĈŸž ƇĩĈ ńÝƇĈžƇ Ýōā most transformative Pro-AudioVisual and Integrated Experience Solutions under one roof. Held in Bangkok and featuring more than 120 globally-renowned exhibiting companies, the 3-day exhibition and conference will attract AV and IT professionals as well as a wide spectrum of vertical market end-users from across all of Southeast Asia. ĩŕžĈ Ƥĩŕ ÝŸĈ ÝŋŕōġžƇ ƇĩĈ ƼŸžƇ Ƈŕ ĈŋùŸÝûĈ ƇĩĈ ńÝƇĈžƇ Ƥĭńń ńĈÝā ƇĩĈ ŴÝûŀ in the future. See you there.

15 May 2019 - 10am – 6pm 16 May 2019 - 10am – 6pm 17 May 2019 - 10am – 4pm

InfoCommSEA

ADMISSION TO INFOCOMM SOUTHEAST ASIA IS FREE REGISTER YOUR VISIT AT WWW.INFOCOMM-SEA.COM Admission • Admission is free for both Trade Exhibition and Summit. • Strictly open to professional trade and business visitors above the age of 18. • Register online before 10 May 2019 at www.infocomm-sea.com, or onsite during show days from 9:30am to half hour before closing time.

Organizer

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Event Manager

heard to be believed then it’s highresolution audio. With its extended frequency response, the listener is now not only able to hear with their ears, but also experience and sense these high frequencies through their bodies.’ The ultra-high frequencies referred to are associated with any acoustic instrument or voice. They are so high on the frequency spectrum that human ears alone are unable to detect them; instead they are sensed through skin, bones and hair. When these frequencies enter the soundscape, they are said to augment the listening experience. The Sony Hi Res 100 Series microphones have been designed to capture the ‘entire augmented experience’. pro.sony.com.au

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Wayne Stuart, proprietor and head designer of the 108-note piano, had explained that The Beleura must be recorded in a high-resolution format due the soundscape’s high frequencies. Craig Field from Underwood Studios was then responsible for recording the performances with the Sony microphones in high resolution, reproducing the entire frequency spectrum of The Beleura. ‘With the introduction of Hi Res playback devices, speakers and headphones, the microphone is actually the weak link with most commercial microphones rolling off at 20kHz while the Sony Hi Res mics will recognise and pick up ultra-high frequencies up to 50Hz,’ said Mr Green. ‘If there were ever a format that had to be

A Project of

INDIA: Rich Audio became the ﬁrst rental company in India to acquire an Adamson rig following the Canadian manufacturer’s distribution deal with AVCL in the ﬁrst half of 2018. Since then, the Mumbai-based company has added to its initial purchase of an S10 line array system with S119 and E219 subwoofers. These systems were all recently deployed at a major event in Pune featuring Akon, Sukhbir Singh, Sohail Khan, DJ Skales, DJ Tony Montana, DJ Girish Kilogram, Bappi Lahiri and Sivamani. Adamson’s APAC director, David Dohrmann, accompanied Rich Audio’s Lee Braganza and Zura Braganza at the mix position during the event.

‘The setup worked really well,’ conﬁrmed Lee Braganza. ‘The consistency of the system was amazing – very good quality with clean musical sound. ‘The critically optimised sound chamber of the S10 allows for equal sound distribution throughout the venue and provided a continuous level from front to back, while the S119 and E219 subwoofers provided exceptional power handling with excellent sound reproduction. And the ability to widen coverage smoothly is a big plus.’ www.adamsonsystems.com www.richaudioindia.com www.sonotone.in

NEWS: PROJECTS

0LVWHU ; EULQJV 1HZWRQ WR &ORFNHQÁDS HONG KONG: Alto Stage Management was responsible for managing the main (Harbourflap) and second stages at this year’s Clockenflap festival, calling in Davide Linzi of Mister X Service as the audio systems designer for both stages and to serve as FOH engineer for Harbourflap. Mr Linzi used Outline’s Newton multisource audio processor as part of his setup. ‘I decided to take Newton to Clockenflap because I needed a versatile unit that enabled me to create a matrix of inputs and outputs that was fast and effective,’ explained Mr Linzi. ‘My workflow required 10 independent inputs always connected with the main S6L console, the guest

console, a production mixer handling walk-in music, publicity audio, and emergency and MC mics.

tuning were done on Newton, as were any modiﬁcation request by artists’ sound engineers.’ Mr Linzi noted how one of the reasons he uses Newton is because of its routing capabilities. ‘With the same computer connected via Cat-5 for control, I can do quick L-R recordings for artists directly via Dante Virtual Soundcard, without the settings made to the PA on the output. Thanks to the EQ on the inputs, it is possible to carry out individual EQ settings for each engineer, without changing the basic tuning on the outputs.’

‘The outputs, on the other hand, involved independent control, a stereo feed for streaming, a reference signal for Smaart and

Newton at the heart of Clockenﬂap

Image courtesy of Clockenﬂap Facebook

a pair of Dante signals for L-R recording if requested. The major EQ settings carried out during PA

www.altostagemanagement.com www.misterxservice.it newton.outline.it

-'6 IRUJHV 0HGLD /LQNV JAPAN: Japan Digital Serve (JDS) has chosen to update its IP-based video distribution platform with the addition of Media Links’ MD8000 transport solution and ProMD EMS (Enhanced Management Software).

JDS provides digital broadcasting services to cable television networks across Japan via a terrestrial ﬁbre optic network. JDS is currently using Media Links’ MD8000 as the transport

backbone of its 100Gbps transmission system, which is capable of transmitting multiple uncompressed HD-SDI video signals with full redundancy. Media Links’ ProMD EMS operates

and manages the transmission system. ProMD EMS is a multiuser, software-based tool used to conﬁgure, provision, manage and troubleshoot IP video and media transport networks.

Testing of the system is underway, with operation scheduled to begin in March 2019. www.medialinks.com

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NEWS: PROJECTS

Harry Potter and the debut of L-ISA AUSTRALIA: L-Acoustics’ L-ISA immersive sound technology made its debut in the Southern Hemisphere recently on the Adelaide Symphony Orchestra’s performance of Harry Potter and the Prisoner of Azkaban in Concert at the Adelaide Entertainment Centre. The system was deployed by technical production company Novatech, which has been searching for new opportunities to use the technology since its release. ‘With L-Acoustics being the backbone of our audio inventory, we were excited by the introduction of L-ISA and were keen to bring it to Australia for a live performance,’ explains Novatech’s production manager, James Sacca. ‘It seemed ﬁtting to partner with the Adelaide Symphony Orchestra for this Southern Hemisphere ﬁrst. As always, L-Acoustics was professional to deal with and extremely supportive as we

create the soundscape for static information such as object panning, source width and distance, based on input channels bussed from the SD10. ‘I have long been a fan of so-called surround sound and immersive audio,’ said Mr Gagnon. ‘I’ve done numerous recordings

planned this technically complex event.’ The L-ISA setup included 126 input channels and 96 L-ISA objects used in an L-ISA Wide design. This meant deploying a total of 84 Kara cabinets in seven hangs of 12 Karas, each spaced above the performing zone to provide source separation and localisation, as well as two extension speaker groups of 12 Kiva IIs and two ﬂown subwoofer

arrays of four SB28s in an end-ﬁre conﬁguration in the centre. The monitor system comprised ten X15 HiQ cabinets and eight X8s, while control was from a DiGiCo SD10 at front of house and an Avid S6L at monitors, connected via three Optocore optical loops. Adjustments to the soundscape were made by the show’s mixing engineer, Charles Gagnon, using the L-ISA Controller software to address the processor and

Keeping Roppongi Hills pollution-free JAPAN: The Roppongi Hills Arena has undergone major refurbishment, allowing it to be adapted for more types of entertainment and performance. The unique outdoor venue, with a retractable roof to combat the elements, required a new sound system to reinforce shows and provide monitoring, while preventing noise pollution throughout the surrounding area. The Martin Audio CDD Series offered a solution, along with Powersoft amplifiers supplied by Audio Brains. ‘I had been wanting to provide premium sound to the audience for a long time,’ explained Mr Sato, who specified the system for the venue. ‘The goal was obvious but there were many considerations, such as it being an open-air venue and the fact that we needed to avoid noise pollution for the sake of our neighbours. In addition to that, the location of the loudspeakers in the past had not been of sufficient quality to cover every seat in the venue.’ The newly installed CDD Series system, provided by Martin Audio Japan, comprises 15-inch weatherised CDD15-WR speakers, 12 of which have been deployed

on the truss above the facility. A further eight are hung from the walls. ‘The dispersion of the CDD Series is unprecedented,’ said Mr Sato. ‘Not only is the sound quality nice, but the wide dispersion brought coverage to areas that had previously been dead zones.’ The setup is powered by five Powersoft X4 DSP+D amplifiers, which were tuned to maximise the potential of the Martin Audio loudspeakers. A Symetrix Radius 12x8 feeds the signals to the amplifiers via Dante. Powersoft’s Armonía software allows control of all output signals.

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‘As well as combatting dead zones with the new speaker placement, we are very happy with the performance of the Powersoft X4 ampliﬁers,’ conﬁrmed Mr Sato. ‘The output capability of the amps allows us to maximise the powerful, clear sound from the PA system, and being able to tune it perfectly using the Armonía software was invaluable. We now have control of the system’s output in all outdoor areas, adopting individual EQs and delay settings.’ www.audiobrains.com www.martin-audio.com www.powersoft-audio.com

and broadcasts in traditional 5.0/5.1 surround and have been involved in experimental immersive audio projects going back to the early 2000s. Advances in processing power and algorithms now make object-based systems practical so I am intrigued, but not surprised, about the emergence of

these systems in the competitive live sound market.’ Mr Gagnon found the L-ISA Controller software intuitive, with a well-designed GUI that made it easy to quickly make broad adjustments to the soundscape. ‘I was pleased with the result, especially with dialogue clarity and localisation, and overall clarity and coherence of the soundstage.’ ‘Novatech works closely with us as our technology partner to bring the sounds of the orchestra to audiences both small and large,’ concluded Vince Ciccarello, CEO of the Adelaide Symphony Orchestra. ‘We were thrilled and excited to learn of the new L-ISA technology that would more faithfully engage our artists with the audience and are proud to be a part of this collaboration with Novatech and L-Acoustics.’ www.aso.com.au www.l-acoustics.com www.ncet.co

Wave Yang records Paiwan ancient ballads TAIWAN: Wave Yang, owner and chief engineer of Beautiful Recording Studios, was recently commissioned by Taiwan Indigenous TV (TITV) to conduct multitrack simultaneous pickup and recordings of the Paiwan ancient ballads performed by aboriginal singer Sang Mei Juan in a jazz style. Mr Yang employed several Unika NBB series solutions for the recording. Before the recording, Mr Yang and Unika’s marketing director, Simon Hsu, held technical discussions with several recording engineers regarding live pickup and multitrack recording techniques. For the recording itself, Mr Yang used Pro Tools to manage the multitrack recording. The microphone pickup and A/D

conversion and transmission were integrated into the Dante-enabled base station via Unika’s NBB-1616 break-in/break-out box. The base station output was fed to a camera system and to the stage monitor via the NBB-04T networked audio transmitter. Sample rates of the recording were set to 96kHz, as speciﬁed by TITV. The 16x16-channel Dante base station allowed for Dante network transmission, AD/DA conversion and served as a mic pre. The Dante network facilitated the extension of the base station, enabling a single-ended 32x32 channel to be distributed through the NBB-1616e or via the NBB04T/-4R 4-channel base station. www.unikapro.com

Loud and Clear The S360 combines main monitor performance with compact size, delivering a true reference even at high sound pressure levels. And with our GLM software, the S360 will intelligently adapt to your acoustic environment. So if you need to really feel the energy in your music – or are working with large scale LPPHUVLYH ıOP SURGXFWLRQ – it is no longer a choice between power and precision. Find out more at www.genelec.com/S360

NEWS: PROJECTS

3URMHFWLRQ PDSSLQJ WKH ZRUOG·V WDOOHVW VWDWXH INDIA: A total of 51 Christie Crimson WU25 3DLP laser projectors were used for an extraordinary projection mapping showcase on the recently unveiled Statue of Unity, the world’s tallest statue, which is dedicated to Indian statesman Sardar Vallabhbhai Patel. The statue itself is 182m tall and reaches a height of 240m with its 58m base. Christie’s Indian partner Pyramid Technologies and renowned German laser show producer HB-Laser worked together on the design, installation and integration of the Crimson projectors for the show, resulting in another record: the largest-ever deployment of high-brightness projectors for a permanent installation in India. ‘When it comes to challenging projects in India, Christie has been

the preferred choice for projection solutions due to its excellent track record in terms of performance, reliability and service support,’ said Ajay Parwaney, managing director at Pyramid Technologies. ‘We are honoured to be involved in this monumental project from the conceptual stage, during which we participated in a detailed projection study that resulted in the Crimson Series emerging as the preferred choice of projectors for the projection mapping showcase on the Statue of Unity.’ Mr Parwaney listed several reasons for selecting the Crimson projectors, including its IP5X rating, solid-state laser light source and ‘virtually maintenance-free operation’. The installation and alignment of the projectors had to be completed

in under a week, as soon as the ﬁnal touches were made to the statue. All 51 Crimson WU25 projectors used for the 30-minute light and sound show are housed

in a custom enclosure to suit the enormity of the application located in a projection room 600m away from the monument. Due to the long throw distance, special mirror

mechanisms were fashioned to enable the projectors to display visuals on the statue in full colour. ‘HB-Laser is honoured to celebrate the life and achievements of Sardar Patel through the design and commissioning of an exciting laser light show on the Statue of Unity using the Christie Crimson projectors,’ commented Harold Bohlinger, managing director of HB-Laser. ‘By combining and synchronising various multimedia elements together, we are able to tell the inspiring life story of the visionary Indian leader in an engaging manner, while delivering a massive multisensory impact to spectators.’ www.christiedigital.com www.hb-laser.com www.pyramidtech.net

$XGLR QHWZRUNLQJ WKURXJKRXW :DNDWLSX +LJK 6FKRRO NEW ZEALAND: Classes recently began at the new Wakatipu High School in Queenstown. To meet DQLS (Designing Quality Learning Spaces) guidelines from the New Zealand Ministry of Education, the school was equipped with a wealth of Harman networked audio systems, supplied by JPro (formerly Jands NZ) and integrated by Strawberry Sound. JBL Contractor Control Series speakers and Commercial Series ceiling speakers were installed throughout the school’s classrooms, ofﬁces, auditorium and gym in a system that Strawberry Sound and JPro worked together to design and install. The system is networked through BSS Soundweb London Blu-103 and Blu-100 digital

audio processors, distributed via the Dante Layer 3 protocol and managed using Harman HiQnet Audio Architect software. ‘The open architecture of this platform provides a completely customisable solution for future changes to the paging and automatic phone switching systems,’ explained Reuben

Pearce of Strawberry Sound. ‘The PABX phone system can dial into the Blu-103 if needed and easily broadcast to the entire school through the headset. The ability to add customised panel settings for the paging system helps simplify the faculty and staff’s daily communications.’ The main sound system in the school’s per forming arts theatre, meanwhile, comprises left, centre and right arrays of JBL SRX812 powered loudspeakers and SRX818SP subwoofers, ﬂown above the stage. A Soundcraft SI Impact digital mixing console manages the sound setup during productions and events. Microphones and other input signals are connected to the console via a Soundcraft Mini

Stagebox 16, while output speaker signals are time-aligned with a BSS Blu-100. ‘The high efficiency of JBL speakers yields better coverage using fewer speakers at lower volumes,’ said Nicholas van Dyk of JPro. ‘As a result, teachers and pupils benefit from not becoming mentally or aurally fatigued due to poor sound quality and acoustics. The building project manager, Blair Grier, said that Wakatipu High School features the finest acoustics he has encountered in almost three decades of experience.’ www.harman.com www.jpro.co.nz www.strawberrysound.co.nz

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1/4 PAGE

Dante primary and secondary connectors equipped for redundancy Supports AES67 and other AES67-compatible network protocols including Ravenna Up to 96 kHz / 24 bit resolution Reference level dip switches for 5 selectable DBu level meterings D-sub 25-pin connectors enable line input/output

34 PRO AVL ASIA Januar y–Februar y 2019

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NEWS: PROJECTS

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AUSTRALIA: The CamďŹ eld is Australiaâ&#x20AC;&#x2122;s largest pub. At 9,000m2, it accommodates up to 3,000 patrons alongside the Swan River and Optus Stadium in Perth. It also houses 96 Electro-Voice loudspeakers and ampliďŹ ers, supplied by Audio Source and integrated by Vision Cabling, that provide sound for ambience, functions and entertainment purposes. The canteen area serves food along with BGM from Electro-Voice Evid-S commercial installation loudspeakers. EKX passive subwoofers extend the frequency response of the system. Several terraces surround the pub, offering views of the river, the stadium and beer garden. Each terrace is equipped with Evid ceiling speakers, while ZX5 loudspeakers have been installed in the corners of the spaces.

In the aforementioned beer garden, a custom-built screen receives audio reinforcement from further ZX5 speakers. Electro-Voice CPS ampliďŹ ers power the entire sound setup at The CamďŹ eld â&#x20AC;&#x201C; 2-channel models drive the ZX5 loudspeakers, while 4-channel units power the Evid-S cabinets.

â&#x20AC;&#x2DC;Vision Cabling Systems designed the concept around the Evid-S wall-mount and the ZX5Pi weatherised range for the performance, quality and ease of installation,â&#x20AC;&#x2122; said Marcus Stackpole, project manager for Vision Cabling. â&#x20AC;&#x2DC;With The CamďŹ eld being so close to the Swan River, speakers that could perform in an environment such as this were integral to deliver the project. â&#x20AC;&#x2DC;The performance of both the indoor and outdoor speakers selected outdoes what was proposed to the client, exceeding their expectations and delivering a higher quality of sound than previously thought with acoustic challenges throughout the venue, including stadium ambience.â&#x20AC;&#x2122;

TAIWAN: Okuma Fishing Tackle Co recently sought a video conferencing system to conduct meetings between staff at its Taiwanese headquarters and in

video conferencing master control units with 13 Fub-6314 table-top delegate microphones for clear audio capture and four HDC-611 PTZ USB cameras for video.

its Chinese and American ofďŹ ces, as well as training sessions for its customers around the world. To meet these requirements, a BXB Q.con video conferencing system was installed. Okuma speciďŹ ed the need for a reliable solution that would deliver clear images and goodquality sound, while also allowing documents to be shared and viewed across multiple locations. It was determined that the Q.con system from fellow Taiwanese manufacturer BXB best met these requirements. The system installed comprises four QCU-100

In addition, the Q.con system can be operated with BXBâ&#x20AC;&#x2122;s HDR-731 streaming and recording unit, allowing training sessions to be recorded and live streamed simultaneously. â&#x20AC;&#x2DC;BXBâ&#x20AC;&#x2122;s Q.con has enhanced the quality of multipoint video conferences,â&#x20AC;&#x2122; said Okumaâ&#x20AC;&#x2122;s IT manager, Mr Lin. â&#x20AC;&#x2DC;It possesses high-quality video and audio transmission and even allows those without access to the conferencing equipment to join the meeting via instant messaging software.â&#x20AC;&#x2122;

www.audiosource.com.au www.boschcommunications.com.au www.visioncabling.com.au

www.bxb.tw

6WDJHWHF $VLD KHOSV %)0 XSVL]H MALAYSIA: BFM 89.9 has been a broadcasting business, ďŹ nancial markets and current affairs news and discussion station for a decade. As it approached its 10th anniversary, the radio station relocated to a new studio facility in Menara Ken TTDI in Kuala Lumpur. Stagetec Asia was called in to supply new AV equipment, plan and design the new studio, and help with the relocation. â&#x20AC;&#x2DC;We were looking to expand the capabilities of our old facilities to a site that would suit our requirements and provide room for future expansion,â&#x20AC;&#x2122; explained David Chew, BFM 89.9â&#x20AC;&#x2122;s head of engineering services. Stagetec Asia was tasked with setting up ďŹ ve new studios as well as the video and production rooms, the talent booth, the newsroom and the producersâ&#x20AC;&#x2122; room, and the MCR (main control room).

The Stagetec Asia and BFM teams

BFM 89.9 on the air with multimedia minister Gobind Singh Deo

The two main studios were equipped with DHD Series 52 mixers, integrated with a Sonifex profanity delay, Telos Telephone Hybrid and ADAM Audio monitors. Communication between

producers and radio presenters is facilitated by Sonifex conďŹ dence monitors installed in the producersâ&#x20AC;&#x2122; room. The other three studios are used for recording content to

36 PRO AVL ASIA Januar yâ&#x20AC;&#x201C;Februar y 2019

be broadcast later such as interviews with special guests. The MCR is ďŹ tted with a digital radio router, which offers control, switching and monitoring functionality for any signal across

the entire system via a Stage Tec Nexus audio network, router and I/O matrix. â&#x20AC;&#x2DC;Stagetec Asia provided us with the conďŹ dence in ensuring that our demands were met on all counts,â&#x20AC;&#x2122; said Mr Chew. â&#x20AC;&#x2DC;As we are an independent radio station without big budgets, we had to work doubly hard to be certain that we were getting the right equipment, the right service and, most importantly, the right price.â&#x20AC;&#x2122; â&#x20AC;&#x2DC;Stagetec Asia is proud to be BFM 89.9â&#x20AC;&#x2122;s preferred technical advisor and supplier,â&#x20AC;&#x2122; commented Stagetec Asia managing director, Advon Tan. â&#x20AC;&#x2DC;We extend our sincere congratulations to BFM 89.9 on their accomplishment in launching their new radio facilities, which were inaugurated by the communications and multimedia minister, Gobind Singh Deo.â&#x20AC;&#x2122; www.stagetecasia.com

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

NEWS: PROJECTS

New Dolby Atmos HE studio opens in Mumbai INDIA: Acoustic consultant Sound Wizard has created a new studio at FutureWorks in Mumbai in the rapidly growing new Dolby Atmos HE format. The 7.1.4 setup using ADAM Audio monitors allows content to be mixed in Dolby’s 3D object-based immersive sound format for replay in home entertainment systems, as well as on Dolby Atmos headphones. The new studio is in a former control room at the FutureWorks facility in Andheri. Acoustics of the original room were designed to function with a main L-R studio monitor system. ‘It wasn’t designed for a multichannel situation, so we’ve had to create a new acoustic layer on top of everything that was already there to align it with the new Dolby requirements,’ said Sound Wizard founder, Didier

Het Cordaat, Hasselt runs on AUDAC

Weiss. ‘Luckily we weren’t starting too much off target. There was already a recess in the ceiling where the overhead speakers have been mounted, which gave more height where it’s needed. We have

added diffusers and absorption material behind the fabric covering the wall to create the exact room acoustics, with early and late reﬂections, according to Dolby HE speciﬁcations.’

1/2 PAGE Island SONA2.5

Amplify sound, simplify control AUDAC TouchTM provides you an out of your pocket total audio solution. Using this application, different dashboards can be effortlessly created and customized allowing you to control your preferred AUDAC equipment and multiple third party devices like lights, projector screens and many more.

38 PRO AVL ASIA Januar y–Februar y 2019

Mr Weiss worked in close cooperation with the Dolby team in Mumbai. ‘This room is one of the ﬁrst ones created to handle Dolby HE,’ he continued. ‘We proposed various setups, asked a lot of questions, carried out predictions, calibrated the results and, in the end, our design was approved. Dolby is really happy with the result. Our aim was to translate something mixed in here for home reproduction, encoded in multichannel, whether it’s 5.1 or Atmos. You are creating an experience that’s not too far from what people are going to get at home, which is a very different experience from in the cinema. It’s not about loudness, it’s about reﬁnement. Because the room is quite small there is a lot of

potential for early reflections that are going to colour the sound, and we needed to take care of early reflections from every angle. We didn’t want too much indirect energy arriving together at the sweet spot. That was the main challenge, because in a big room it’s much easier than in a small space.’ The 7.1.4 system consists of three ADAM A8X monitors for the L-C-R channels, with four sides of ADAM A7Xs, plus another four A7Xs overhead. The subwoofer is a self-powered Meyer Sound Amie-Sub. ‘This is one of the most complex setups you can have for home entertainment,’ says Mr Weiss. ‘Content can be downscaled through the decoder if, for example, a 5.1 mix is required.’ The studio has also been installed with an Avid Artist Mix control surface and Pro Tools Dock, Pro Tools Ultimate 2018, Dolby plug-ins for Pro Tools, an Avid MTRX I/O unit and a Dolby Atmos HT RMU. Demonstrating a strong demand for releases in the new format, the studio has got off to a flying start, completing four films in the first month alone. Following this successful implementation, Sound Wizard has also been receiving enquiries to build similar studios.

FutureWorks’ Ramesh Swaminathan and Sound Wizard’s Didier Weiss

www.dolby.com www.soundwizard.net

Rivera International cuts the Mustard INDIA: Music is used to liven the mood at Mustard, a restaurant and bar serving a blend of Bengali and French cuisine in Mumbai’s Atria Mall. BGM and sets from the resident DJ are reinforced by a sound system formed from Nova Audio and ToneArt solutions, designed and installed by Rivera International, the distributor of both brands. Several units of Nova Audio’s VS10 and VS12 loudspeakers have been deployed around the restaurant’s main seating area, while VS18 subwoofers handle the low end. The setup is driven by a combination of Nova’s DXi series power ampliﬁers and ToneArt’s R11Q ampliﬁers. Rivera International also supplied the DJ setup in the form of Reloop RMP4 hybrid media players and an RMX33i mixer. ‘Rivera have done a fantastic job with the installation and we

must say that the speakers sound absolutely fabulous no matter what genre of music we play,’ said a member of the Mustard management. ‘The system

has enough room to deliver a louder and more impactful audio performance when needed and is easy to use and maintain.’ www.riverainternational.com

NEWS: PROJECTS

Vue China powers ¶0\ *LUO· FHOHEUDWLRQ CHINA: Online reality show Idol Trainee’s runner-up Chen Linong and his boy band Nine Percent have performed at the Beijing National Olympic Sports Center. Vue China provided audio services for the ‘My Girl’ concert, which also doubled as Mr Linong’s 18th-birthday celebrations. He rose to fame after attracting more than 9.5 million followers during the Idol Trainee competition. The Vue team deployed an al-Class line array system including 24 al-12s hung 12 per side on the main stage, 12 hs-221 subwoofers ground-stacked in a line along the

front of the stage with four stacks of two al-8SB subwoofers, two stacks per side; eight al-8s as front-ﬁlls

-.1 *OREDO LQYHVWV LQ 'DOHW stacked two high and spread in four stacks across the front of the stage; and four al-8s on each side of the stage to provide side-ﬁll. Rack-mount VueDrive V3, V4 and V6 Series Systems Engines provided all the power and processing for the arrays. ‘Idol Trainee, and the talent and fans it spawns, are the key to the future of Chinese pop culture and the markets it creates,’ explained Mr Gu, president of Vue China. ‘We were honoured to provide audio services to the event and were thrilled to receive much positive feedback on the Vue rig’s clarity, coverage and ease of setup.’ According to Ken Berger, Vue CEO, progress in China is outpacing the rest of the world. ‘When we expanded the Shanghai-based operation and our national footprint throughout the mainland in Spring 2018, we made a commitment to establish the brand as the Chinese market leader. I’m really excited to see Mr Gu and the entire team making that vision a reality.’

THAILAND: JKN Global Media PCL Thailand has invested in Dalet’s Galaxy five media asset management and workflow orchestration platform. This allows the Thai media organisation to automate the process of managing its media assets, streamlining production workflow. The Galaxy five installation at JKN Global Media comprises Dalet Webspace for browser-based asset searches, Dalet AmberFin for transcoding and Dalet Xtend for workflow collaboration between Dalet Galaxy five, Adobe Premiere Pro and Avid ProTools. Integration with Aspera, meanwhile,

accelerates ﬁle transfer, while Vidchecker is used for QC. ‘JKN Global Media had the core goal to increase overall productivity in terms of content and to boost distribution by adopting facilitywide migration policies, automated transcoding and expansive metadata tagging and tracking,’ explained Cesar Camacho, general manager at Dalet Asia Paciﬁc. ‘They now have a platform, with which they can better serve content to viewers on any platform and evolve their business in reselling content.’ www.dalet.com

www.vueaudio.com

PHONUM YOUR TEAM YOUR SPIRIT

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Januar y–Februar y 2019 PRO AVL ASIA 39

NEWS: PROJECTS SOUNDBITES TR AUDIO CONTINUES TO CLUB WITH APG CHINA: TR Audio has recently completed three new club installations in China, equipping each with APG solutions. This follows the success of the systems integrator’s work at 0760 Plus in Zhongshan. The latest installations took place at the Open Pie club in Pingxiang, the Panda Party club in Changde and the Liuchow 79 Bar located in the Guangxi region. For these three projects, TR Audio deployed APG’s Matrix Array series front of house systems, Uniline modular line array systems and SMX15 and DX Series coaxial speakers.

Aviwest solutions employed during Tham Luang cave rescue THAILAND: In the summer of 2018, the rescue operation of a trapped junior football team from the Tham Luang cave made global headlines. It has now been revealed that the Thai Public Broadcasting Service (TPBS) deployed Aviwest’s Rack180 hybrid contribution video encoder, StreamHub transceivers and Quad wideband antennas to improve the video

quality and lower the distribution costs for live, breaking news from the site.

The Aviwest solution was the ﬁrst wireless camera unit on location, allowing TPBS to broadcast live HD video of the incident via bonded 4G wireless networks. ‘Since the Tham Luang cave is located in a remote area of Thailand, TPBS needed broadcast equipment capable of streaming live high-quality images from an area that lacks strong network connections,’ said Suchet

www.traudio.cn

MONSTER MADE

On each side of the DJ booth are a pair of Monster 212-UHF loudspeakers, two HF models, three Monster212s and four Monster121s. In the middle of the club are ceiling-mounted Monster212 and 212-HF cabinets, while nearer the back are pairs of both. ‘Our Monster system is customised for the nightclub environment and can be easily ﬂown or stacked,’ said a Verity Audio spokesperson. ‘It also has options for single horn or double horn coverage to meet the different requirements depending on the club’s layout.’ www.verityaudio.fr

www.aviwest.com

Robe shines at Orchestrated

www.apg.audio

KOREA: Club Made, located in Seoul’s Itaewon-dong neighbourhood, has been equipped with a customised Monster System from Verity Audio. The venue accommodates up to 1,000 clubbers and, as such, the Monster System was customised as an ‘ultra-high SPL’ version with an extended frequency range of up to 30kHz.

Mahapruekpong, VP of sales and marketing at Strong Brothers 1961, Aviwest’s partner in Thailand. ‘Aviwest’s solution offered the TPBS team greater ﬂexibility in the ﬁeld. It allowed them to utilise affordable cellular networks to deliver real-time coverage to viewers watching across the world, faster than traditional broadcast equipment.’

AUSTRALIA: Sydney-based veteran lighting designer, Peter Rubie, has added Robe LED Spiiders and Spikies to his repertoire. The LED ﬁxtures were showcased at Ministry of Sound Australia’s special project, Orchestrated, at the Sydney Opera House, to danceﬂoor anthems with a live symphony orchestra

and a group of some of Australia’s most talented singers. ‘I programmed a big private light show launch for Jands when they released the Spiider and Spikie into Australia earlier this year and knew instantly I wanted to use them on a show,’ he said. ‘I also knew what the orchestra needed. You can’t be too extreme with the

creative side of the lighting to the point where the musicians can’t see the music to do their jobs.’ He started with a centrepiece truss based on the Ministry of Sound logo to sit above the rear of the stage and ﬁlled it with Spikies. The show, with 772 time-coded lighting cues, needed to ﬂow with the orchestrations but also needed

lots of tricks to accent the dance beats’ builds and drops. ‘The Spikie for me is like every other micro LED beam fixture over the last year but on steroids,’ said Mr Rubie. ‘The colours are mixed nicely before a single PC-style lens, so you don’t ever see individual LED smarties, it has a nice zoom range right from a parallel pencilthin beam to a smooth even wash with a nice soft edge. Robe have managed to squeeze in a 3-facet prism, which looks great when breaking up the beam at narrow zoom as well as the unique flower effect which you don’t expect to come out of a fixture of this size.’ The Orchestrated event housed 18 Spiiders supplied by Chameleon Touring Systems along with 18 Spikies. ‘I was able to use the Spiider as a side-fill which it delivered with some nice pastels and then at times I could add the dynamic element of the flower effect seeping through the orchestra,’ he explained. www.jands.com.au www.robe.cz

Supernova wins the race JAPAN: The Japan Racing Association (JRA) wanted to replace the display system in the main concourse of its Tokyo racecourse due to low deﬁnition and insufﬁcient brightness. The association turned to KIC Corporation for a solution, leading to the installation of a dnp Supernova screen, paired with a pair of Panasonic projectors. KIC recommended the dnp Supernova because of its ability to offer high-contrast visuals even at extreme viewing angles, making it well-suited to its positioning on the concourse, allowing visitors below to

40 PRO AVL ASIA Januar y–Februar y 2019

without risking visible overlap,’ explained a spokesperson from KIC. ‘Furthermore, the screen is physically easy to manage, which helped us when we built in additional protection against the effects of possible earthquakes.’ JRA had already selected the Panasonic projectors before contacting KIC. ‘The new projection system provides highcontrast, high-deﬁnition images that clearly show the information for a race, even under brighter lighting conditions,’ said a JRA spokesperson. clearly see what’s on screen. ‘Supernova also enables you to

use multiple projectors to create bigger high-resolution images

www.dnp.dk

SMART LOUDSPEAKER SYSTEMS

Hall 7W225

NEWS: PROJECTS

Merging into Pelangi Studio INDONESIA: Renowned sound engineer, composer and producer Chossy Pratama was asked for advice on sound restoration during Pelangi Studio’s recent upgrade from audio tapes to digital file formats. Mr Pratama consulted with Merging Technologies’ South East Asia distributor, JAA Systems, trialling the Pyramix digital audio workstation and Horus audio interface before making his final recommendation to Pelangi Studio’s management team. With the Merging solutions chosen, JAA Systems took responsibility for the installation. Merging’s Pyramix Native production and mastering software was installed on three computers along with a single Horus interface. ‘Merging’s Pyramix is the bestsounding DAW in the market,’ said Mr Pratama, explaining his recommendation. ‘Although the workflow may be a bit complex, it

AUSTRALIA: Bodhi & Ride brings the cardio workout of a spin class into a nightclub environment. AV integrator Disco Doctors was hired to install the audio and lighting setups at the Melbourne venue, having extensive experience

does a fantastic sound production job. With Merging’s Horus interface, the sound is superbly “analogue”. Besides that, a Ravenna AoIP infrastructure and Aneman audio networking system make this restoration and mastering project extremely efﬁcient.’ ‘Pyramix and Horus have once again proved that they are the

best audio inter faces on the market,’ said JAA Systems director David Chan. ‘The purchase by Pelangi Studio adds to a tremendous year for sales in Merging Technologies equipment.’

Sam Johnson at his Audient ASP4816 process,’ he explained. ‘The ASP4816 is like the kitchen table; it’s where we all gather to make and mix and chat and generally get into that mindset of making music. It helps of course that it also sounds and per forms superbly. I’ve got lots of funky preamp options but I love the

in equipping gyms and fitness centres. With the project brief specifying a nightclub atmosphere, Disco Doctors designed a solution comprising Audac loudspeakers. Four VEXO8 compact speakers along with a BASO15 bass-reflex cabinet pump out the SPLs while patrons work up a sweat. While the peddles of stationary bikes are powered by the burning of calories, the speakers and subwoofer are driven by an SMQ500 WaveDynamics quadchannel amplifier and a PRE116 6-channel stereo preamplifier. The PRE116 is also used for selecting audio sources and controlling the volume. www.audac.eu www.discodoctors.com.au

www.jaasys.com www.merging.com

Sam Johnson brings ASP4816 to NZ

NEW ZEALAND: British producer and musician Sam Johnson relocated to New Plymouth in New Zealand, bringing his Audient ASP4816 compact analogue recording console with him to establish Rhythm Ace Studio. ‘I want to have an analogue desk at the heart of the recording

Bodhi & Ride calls in the Disco Doctors

ones in the ASP4816 – they’re clean to a point but you can still get some gorgeous gluey vibes from them.’ Upon arriving in New Zealand, Mr Johnson was pleasantly surprised to ﬁnd there was more of a music scene, and more work, than he had anticipated. ‘I’m tracking all kinds of bands and artists here and I never feel compromised by the ﬂow of signal through the ASP4816. It feels chunky, wellmade, sounds ace and on a daily basis you really appreciate the history of desk design behind it. It is the perfect-sized desk for the majority of real-life studio recording in this new day and age.’

Narain equips boarding school hall INDIA: Narain Audio & Lighting has supplied the new audio and lighting systems for Ram Ratna Vidya Mandir boarding school’s 550m2 indoor auditorium. As a result, the venue is equipped with systems from Audiocenter, Nx Audio, Raytech and Satan Lighting as Narain also serves as the authorised distributor for these brands.

also offers volume control. Audio sources include an Nx Audio MPC-5500 dual CD Player and 21 Sennheiser wireless microphones for vocals and musical instruments, all linked with a Dynacord CMS 2200 mixing desk. On the lighting side, Narain provided Satan Lighting Pro Stagespots with a pilot2000

The new setup in Ram Ratna Vidya Mandir’s auditorium comprises 12 Audiocenter K-LA210 line array cabinets powered by five of the Chinese manufacturer’s DA7.2 amplifiers. Eight PL3118 subwoofers have been placed on the ground below the arrays for low-end support and are driven by DA12.2 power amplifiers. The speaker setup was fine-tuned using a DBX Driverack Venu360 loudspeaker management system, which

universal DMX controller and a Raytech 2KW dimmer pack. ‘The school in itself has a great charm to it, and so we realised that having the right audio system in place would only make it even more fantastic,’ commented Kashyap Gor of Narain Audio & Lighting. ‘The management has done a great job with the entire project.’

www.audient.com www.rhythmacestudio.com

Sky Racing upgrades with Ateme AUSTRALIA: Ateme and its distributor for Australia and New Zealand, Amber Technology, recently designed and installed a range of video compression solutions during the HD refresh and expansion of DTH services at Sky Racing. The Australian broadcaster is now equipped with Kyrion encoders that allow it to contribute a higher quality of video content at ultra-low latency between horse racing venues and its production facilities.

In addition, Sky Racing chose to migrate to an MPEG-2, H.264 headend for its DTH distribution services. Ateme’s Titan Live software solution allows the broadcaster to distribute SD and HD video feeds with statistical multiplexing while generating all proﬁles and protocols required for delivery in its primary and redundant services. ‘Racing and sports content are the most difﬁcult to compress, especially when you need to

42 PRO AVL ASIA Januar y–Februar y 2019

preserve the picture quality while minimising latency,’ explained Dennis Dovale, technology manager (media) at Sky Racing. ‘Ateme provided us with an ideal solution for distribution and lowbitrate wagering data distribution with superior video quality, with shared bandwidth to deliver highest quality at lowest cost of delivery.’ www.ambertech.com.au www.ateme.com

www.narain.in

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NEWS: PROJECTS

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INDIA: Systems integrator Macbee had its work cut out for it when it installed the sound solution at NOI, a high-end bar inside The Chanakya mall. Real-estate developer DLF India speciﬁed the design and installation of ‘the best-sounding bar in Delhi’, while interior designer Rockwell Group USA ruled that the sound system must be ‘absolutely discreet’ and that no acoustic treatment was allowed to interfere with the room’s aesthetics. Macbee ultimately found a solution in Pure Array Technology from K-array. The close proximity of the seating in the bar and the courtyard to the walls posed another challenge, ruling out wall-mouted installations as the speakers would be too close to patrons. Deciding to take advantage of the SPL consistency offered by a line array setup was what led Macbee to K-array.

In the bar area, a discreet setup comprising four Python-KP102 line arrays, two Thunder-KMT18P and four Rumble-KU212 subs, is powered by a KommanderKA84 ampliﬁer. The courtyard, meanwhile, is covered by a larger version of the same setup, with eight Python-KP102s, two ThunderKMT18P subwoofers and four Rumble-KU212 subs also powered by a Kommander-KA84 amp. The outdoor lounge relies on just four Python-KP52 loudspeakers and a pair of Thunder-KMT12Ps driven by a Kommander-KA24. The speakers are located in the corners of each area, while the subs are placed behind the seating.

A pair of the subs in the courtyard area can be found in the ceiling, ensuring they are hidden, yet able to produce the low frequencies required for the weekends when the bar transforms into a nightclub. ‘We were able to achieve a very high seat-to-seat consistency in terms of smooth bass response as well as SPL,’ commented Sawan Nichani, sound consultant at Macbee. ‘The most amazing response from the management was that they were able to sit right next to the speaker and still have a conversation.’

KOREA: Lynx Pro Audio’s GXR line array sound systems were used at Road Fighting Championship (Road FC) 50. The Mixed Martial Arts event took place in Daejun and was headlined by a featherweight title clash between champion Choi Mu-Gyeom and challenger Lee Jeong-Yeong. The GXR solution was deployed by Lynx’s Korean distributor, Soundphile, and was used for playback of entrance music and

www.k-array.com www.macbee.in

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44 PRO AVL ASIA Januar y–Februar y 2019

announcements. GXR-LA10A loudspeakers were ﬂown on truss that surrounded the octagon. Additional GXR-LA10A units and GRR-D18A subwoofers were ground-stacked behind the judge’s table, where the unanimous decision was made to name Lee Jeong-Yeong the winner of the featherweight championship contest. www.lynxproaudio.com www.soundphile.co.kr

NEWS: PROJECTS

Sydney Trains ROC installed with largest NanoLumens display AUSTRALIA: The soon-to-open Sydney Trains Rail Operations Centre (ROC) has been equipped with what is believed to be the world’s largest command and control LED display. NanoLumens has conﬁrmed that the display, installed in the ROC’s central control room, features the largest number of pixels of any it has previously designed, engineered and installed. The display was commissioned by Australian integration ﬁrm Critical Room Solutions (CRS) and technology consultant Digital Place Solutions (DPS). The LED display is from NanoLumens’ 1.6mm Performance Series and measures 32m x 3.6m.

reasons. From initial inception, concept proof and demonstration, to manufacture and installation, the process has been relatively short at just over 12 months.’ LED display technology was chosen for the long lifetime of its components, low maintenance, low cost of ownership and the small amount of space it consumes. The ROC is located near the Green Square Station in Alexandria. The display solution will allow the control centre staff to monitor all 178 stations on the Sydney Trains rail network.

It contains more than 41 million pixels (19,200 pixels wide x 2,160 pixels high) and reportedly the largest number of processors ever installed in an LED display. ‘Sydney Trains was initially looking at a cube wall for this installation because that is what they used in prior control centres,’ said John Kimenkowski, technical supervisor at CRS. ‘We presented the option of LED display technology for several

www.criticalroomsolutions.com.au www.digitalplacesolutions.com

THE SIBYL CENTRE EMPLOYS LISTEN TECHNOLOGIES AUSTRALIA: Sydney’s Women’s College recently opened a new multipurpose facility, The Sibyl Centre, to host lectures and presentations, musical performances and gala dinners. Among the vast array of technology installed at the venue is a Listen Technologies IR radiator/transmitter system for hearing aid augmentation, supplied by NAS Solutions and installed by AV Media Systems. ‘The Sibyl has 12 Listen LR 4200-150 receivers with 12 LA-430 neck loops and 12 LA-401 ear speakers so that all people in need of assistance can be catered for,’ explained Michael Prestipino of NAS Solutions. ‘The aerials are hidden so they are not visible from the auditorium. The LT-800150 RF hearing augmentation transmitter was given a separate feed on the centre’s Ashly ne24.24M [matrix processor] so that all audio sources would be relayed to those people depending on hearing assistance technology.’ Matthew Bollinger, AV Media Systems engineer, commented on the installation process: ‘The Listen Technologies products are easy to install and use. The deployment is just a single cable run to an antenna. You plug it in, turn the volume up and it works. It took about an hour to unbox and set up.’ www.avsystems.com.au

www.nanolumens.com

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Januar y–Februar y 2019 PRO AVL ASIA 45

NEWS: PROJECTS

Engineers share SD12 on Mike Shinoda tour ASIA: Linkin Park’s Mike Shinoda recently toured Asia with a DiGiCo SD12 at FOH shared by mix engineers Mike Fanuele and Kevin ‘Tater’ McCarthy. Mr McCarthy has worked with Mr Shinoda for more than a decade. He initially specified two DiGiCo SD11i portable consoles for the promotional gigs that preceded the Asian tour. ‘Originally, it was just Mike Shinoda and no other band members,’ Mr McCarthy explained. ‘After a few shows, I was comfortable with all the new inputs and with the 12-fader format, so I decided to keep it.’ Meanwhile, Mr Fanuele is working with the Linkin Park co-founder for the first time. ‘Mike began this tour cycle onstage by himself playing keys, synth, drum pads and triggering samples from a Maschine,’ he recalled ‘For the first show, he actually performed on a satellite stage near FOH,

the surface proved perfect for the task, and we were both able to manipulate the workﬂow to match our needs off of one console.’ Drummer Dan Mayo and multiinstrumentalist Matt Harris were added to the tour, increasing the input requirements. ‘We were utilising approximately 52 inputs between both desks running in an

optical loop,’ said Mr McCarthy. ‘So we had one SD-Rack located in monitor world, which was loaded with seven Stadius 32-bit mic preamp cards, ﬁve Stadius 32-bit DAC cards and one AES card. ‘On my end of the snake, there were eight stereo mixes feeding Shure PSM1000s for three band members, guests and techs. There

Mike Fanuele where Tater and I both mixed off of the same SD12 console. I took the left side of the desk and fed my mix into an LM44 and then out to the PA, and Tater took the right side of the console, where he mixed Mike’s IEMs. It was a unique experience, but the ﬂexibility of

Kevin ‘Tater’ McCarthy at one of the SD11i consoles were also three additional mixes of conventional speakers – two DAS Road 12A wedges for guests and two DAS Event 121As for stage subs.’ The DiGiCo SD12

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Fulcrum handles DQJHOLQD·V DFRXVWLFV

Hill of Wishes disguised as Co Loa Citadel VIETNAM: Tran Linh Multimedia used a disguise 2x4pro media server to deliver a 3D video mapping project at the Hill of Wishes at Vietnam’s largest entertainment complex, Vinpearl Land Nam Hoi An. The project featured a replica construction of the Co Loa Citadel, the archaeological site of a fortiﬁed settlement dating back to the 10th century. Tran Linh’s role in the project was to tell the story of the landmark via projection mapping on the curved, tiered replica citadel. The 3D video mapping show plays nightly to an audience of approximately 2,500 people. ‘When we were mapping the Hill of Wishes, the biggest problem we had was the many steps and different levels of the structure,’ said Duc Nguyen from Tran Linh Multimedia. ‘Using conventional methods, we would have had to cover each step with a separate projector but, with

the help of disguise, we were able to cover three tiers with one projector. To be honest, I was not really confident this could be done until I saw the results, which amazed me.’ Mr Nguyen made use of the thirdparty Mapping Matter software to do projection analysis. ‘Its coordinates could be input manually into disguise, and that helped me a lot for configuring the projector in the media server. ‘disguise then acted as the master playing the LTC tracks to synchronise lighting and laser elements,’ Mr Nguyen continued. ‘We chose disguise for its well-designed user interface, the fact that it was easy to learn and its ability to simplify configuration and quick projector calibration for any rush events that might come up.’ www.disguise.one www.tranlinh.com.vn

46 PRO AVL ASIA Januar y–Februar y 2019

VIETNAM: The iconic Sofitel Legend Metropole Hanoi hotel recently issued a tender for a new sound system inside its bar-lounge-restaurant, angelina. DesignLive Technologies was granted the project based on its experience with other high-end venues and installed a Fulcrum Acoustic loudspeaker system. ‘Our client demanded angelina’s sound system be of the highest quality and as discreet as possible,’ said DesignLive’s Thu Ta. ‘A number of other integrators proposed large, unwieldy loudspeakers and subwoofers that would conflict with the lounge’s architectural motifs and tight spaces, which include low ceilings in many areas.’ The space is surrounded by highly reflective brass, decorative tiles and glass finishes. ‘Through EASE modelling, we designed a configurable distributed sound system with Fulcrum’s compact Prophile Series coaxial loudspeakers and VLF Install high-performance subwoofers,’ explained Mr Ta. ‘Twelve Prophile P 8-inch 2-way coaxial loudspeakers deliver the wide dispersion and high SPLs we needed from visually unobtrusive horizontal enclosures, significantly smaller than those with offset drivers and horns. We deployed three low-profile Fulcrum Sub112 single 12-inch subwoofers and two

US212 dual 12-inch subs, which integrate into furniture ﬁttings to provide “invisible” but powerful low-frequency extension.’ ‘angelina’s distributed design creates an immersive 360° soundstage in the luxurious, high-ceilinged, main cocktail bar area where the DJ is focused. The closer quarters of the dining coves and whisky lounge enjoy a smooth, uniform audio experience with the Prophile P’s 100° x 100° coverage pattern. Our client is very pleased to have a sound system appropriate for such a historic and reﬁned hospitality venue.’

Meanwhile, a Symetrix Radius 12x8 EX DSP facilitates the management of discreet zones via an iPad with a customised UI layout. This allows staff to combine and separate spaces based on requirements. The DSP’s zone management tools also provide control for an automated AV system in the hotel’s exclusive, private dining room, used for boardroom meetings, digital signage applications and private events. www.dltechnologies.asia www.fulcrum-acoustic.com www.symetrix.co

NEWS: PROJECTS

Technical Direction at the Invictus Games

UseeTV picks PlayBox for sports

AUSTRALIA: Technical Direction Company (TDC) staged ‘visual spectaculars’ for the Invictus Games Sydney 2018 opening and closing ceremonies, working alongside the creative teams at George P Johnson Australia, ceremony producers. The opening ceremony was held on the forecourt of the Sydney Opera House, while the closing ceremony was at the Qudos Bank Arena in Sydney’s Olympic Park. For the event, TDC delivered projection mapping onto the sails of Sydney Opera House using Barco UDX 4K high-brightness laser projectors, in addition to supplying LED screens that were erected on the forecourt for IMAG. The projectors beamed 4K images onto the 9,000m2 sails with content managed by the 3D modelling and UV mapping features of disguise 4x4pro media servers. ‘It was the 13th time we’ve lined up the Sydney Opera House, and the third time this year,’ said Steve Cain, head engineer at TDC. ‘For the ﬁrst time, I tried something

INDONESIA: PT Telekomunikasi Indonesia’s interactive television network, UseeTV, has installed a full PlayBox Neo broadcast playout system for its new sports channel. Four AirBox Neo Pro playout servers in 2+2 main and hotstandby configuration are joined by TitleBox Neo, ListBox Neo, Multibackup Manager and SafeBox Neo options. ‘We identified PlayBox Neo’s AirBox as the ideal playout platform for this new channel which will be timeshared between Usee Sport, World Cup and Idku programme streams,’ explained UseeTV’s engineering manager, Puthut Setyo. ‘AirBox Neo is space-efficient, easy to interface with third-party equipment, very intuitive to operate and flexible in terms of system scalability. The PlayBox Neo team also did a great job in providing training with separate presentations tailored for our operational staff and the engineering team.’ All four AirBox Neo servers incorporate the Pro option,

The closing ceremony new – changing which projectors hit which part of the Opera House, redeﬁning which parts hit which sails. We used the same gear as we’ve used before for similar high-proﬁle events – but, this time, we used it smarter, giving us a brighter, crisper image. What we got was a much better result. Not everyone has the opportunity to use the Sydney Opera House as a canvas; we’re very lucky to work with this building so often,

and make what we do better each time.’ While the outdoor opening ceremony and its broadcast was postponed for an hour due to an electrical storm, the closing ceremony was an indoor event free from weather-related challenges. TDC took the opportunity to use its disguise gx 2 media server, grandMA2 lighting desk and Notch VFX to create a celebratory ceremony. ‘The grand ﬁnale, with the performers and ofﬁcials, was the highlight,’ said Mr Cain. ‘It was nice to be indoors with a roof over our heads and out of the weather. We used Notch with Aloe Blacc [a Grammy-nominated R&B musician] and also created smoke trails, particle generators and stylisation effects for the cameras; when someone moved fast, there were trails on them – all in real-time and with no delay. There were 12 VFX feeds for the bands. It all helped create a brilliant party atmosphere.’ www.tdc.com.au

enabling control of third-party devices such as video routers. ‘This option has been deployed to automate the switching between the main and backup playout servers,’ said Dandy Kurniawan, PlayBox Neo Indonesia engineer. www.playboxneo.com

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Januar y–Februar y 2019 PRO AVL ASIA 47

NEWS: PROJECTS

Martin Audio breathes new life into an old cottage AUSTRALIA: Once a humble cottage, the Alcott – or Old Cottage – is now an entertainment hub for the Lane Cove Community in the northern suburb of Sydney. Transformed over decades, the stylish community club was built as memberships had tripled in recent years. Comprising a gaming area, bar, restaurant and function room on its three levels, the interior design also incorporates furnishings and ﬁxtures from the original club created in 1957.

The distinctive décor of the outdoor terrace is further personiﬁed by the plantlife and Martin Audio CDD audio system

seat divisible venue. Capable of seating up to 30 guests, ﬂexibility of use in the smaller Terrazza venue can be enabled via Extron and Attero Tech wall interfaces hosting VGA, HDMI and audio inputs. Speeches and presentations can draw on Shure SLX wireless microphone channels. The AV and lighting parameters of both rooms can be managed from an iOS touchscreen over Wi-Fi to the Crestron Control CP3 processor. DSP functionality and settings are conﬁgured and stored in two linked QSC Core 110f DSP processors. Should it be required, future expansion can be provided. The DSP solution integrates eight Flex channels offering greater functionality with Layer 3 routing and SNMP monitoring. The Alcott DSP functionality features level control, source mixing and microphone

The Alcott’s history is chartered Three weeks into his tenancy as venue manager, Ty Younger reﬂects on the challenges the newly opened Alcott has faced. Heralding from Portsmouth in the UK, Mr Younger is refreshingly not the sort who sugar coats his sentences or codes them within three letter acronyms. ‘We experienced the usual teething problems before and during opening,’ he expresses candidly. ‘However, the AV system has proved to be extremely straightforward to use and we’ve had no problems regarding its functionality.’ Following a request from Solvie’s Jason Robertson, Parity Technology Consulting had undertaken specialist AV consulting for the project. Following careful and detailed requirement analysis, a full evaluation of AV solutions was conducted. Parity’s lead consultant, Andrew Hicks, led the project. ‘Considerations

Ty Younger operates AV parameters from an iOS interface linked to Crestron CP3 Control included the low ceilings, wide room dimensions, interior design aesthetics, weatherprooﬁng and the ability to host DJs with a “feel the bass” requirement. As a result, we evaluated many different options currently available on the market to strike the right balance with a mindful eye on budgetary limitations.’ Following the works, the dust has settled and the abundance of interior shrubs and plants dotted

48 PRO AVL ASIA Januar y–Februar y 2019

Terrazza provides a more intimate environment for meetings and presentations around the Alcott are starting to bed down and take root. Fulﬁlling the contract to install the speciﬁed audio and video technology fell to Sydney-based systems integrator, Intellect Projects Group Pty Ltd. The musical ambience is enhanced by a Martin Audio CDD (Coaxial Differential Dispersion) install series, delivering improved coverage and consistency to all three levels. While CDD5W 5-inch cabinets have been wall-mounted within the street-level gaming area, larger 6.5-inch cabinets adorn the main level Spritz Bar and Alcott dining room. Neighbours may have vented their anger with regards to the double-parking practices of some members, but there have been no complaints directed towards the outdoor speaker system. Mounted on weather-resistant brackets, the CDD5WTX-WR and CDD6WTXWR weatherised variants meet an IP54 rating. ‘The directivity of the speakers is contained within the club with minimal spillage,’ explained Mr Younger. ‘They create an excellent ambience and I can easily change the musical selection

A wall-recessed X115B subwoofer enhances the lower frequencies in the restaurant via the Secret DJ app on my smartphone.’ Eight CDD8W wall-mounted cabinets provide the primary audio reinforcement to enhance the LG 75-inch visual displays and NEC P502H projector in the upper-level function area. An extensive ceiling loudspeaker solution consisting of Quest MXC601 units was selected to supplement the main loudspeakers, primarily for when the rooms are combined. Corporate events, private parties and weddings can be catered for in the divisible Sirocco room, while X115B single 15-inch subwoofers enhance the lower frequencies of the 120-

audio inputs. In addition, an audio source can be routed to any zone via Q-LAN within the venue, while room combining is also provided from the simplified GUI. While the bulk of the CDD speakers draw their current from four QSC GX5 700W 2-channel amplifiers in the lower-level rack room, the six X115B subwoofers require power from two higherspecification GX7 models. QSC GX3s together with Lab.gruppen E5.4s, E4.2s and E8.2s make up supplementary amplifiers. The QSC inventory is completed with a PS-1600G Q-Sys 16-button deskmounted paging station, outfitted with a gooseneck microphone that is able to page any of the multiple zones across the venue. A shorter version of this story ran in Pro AVL Asia Nov/Dec 2018, omitting details of Parity’s involvement, for which we apologise unreservedly. www.intellectprojects.com.au www.parity.com.au www.solvie.com.au www.tag.com.au www.thealcott.com.au

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EDUCATION Paving the way to digital AV SINGAPORE: PAVE System recently invited over 120 personnel from local venues, corporate and educational establishments and government agencies to a day of product demonstrations and seminars at The Summit, a multipurpose auditorium and meeting facility in Paya Lebar. The event was opened by guest speaker Ian Tan of EAA Consultants, who highlighted room acoustics and the importance of treating rooms before implementing sound reinforcement and turning to its main purpose – showcasing the beneﬁts of audiovisual over IP (AVoIP) networked systems. ‘Our intention is to show our guests, many of whom are management level rather than having a technical background, how easy it is to set up AVoIP and run it over LAN,’ explained Stephen Teo, PAVE’s senior sales manager. PAVE had set up an extensive display of products including a fully functional AVoIP network, connecting the main auditorium with four meeting rooms where manufacturers held workshops. Jordan Christoff, CEO/CTO of Visionary Solutions, introduced the technology used at the event to distribute video and Dante

Robert Soo of Cogent Acoustics speaking about the basics of AVoIP audio over Ethernet, while Mathias von Heydekampf, MD of myMix, demonstrated typical applications of the personal mixer system. ‘We are using eight channels of Dante to transmit the workshops throughout the house and multitrack recordings to educate people on important topics such as 3D sound and in-ear monitoring,’ Mr von Heydekampf said. Alex Puorro, Atlas IED’s VP of IP endpoint development, focused on the IPX series of endpoints and related software, which combine duplex IP phone technology with loudspeakers, microphones and visual information via an LCD display or LED ﬂasher.

Outline’s Newton processor was the topic of a workshop provided by Fernando Rey Mendez, the Italian manufacturer’s business developer, in which he gave an overview of system management and DSP capabilities. All meeting rooms equipped with myMix, Sennheiser SpeechLine and Sony full HD PTZ cameras, Visionary Solutions’ PacketAV AVoIP encoders and decoders enabled streaming AV from the workshops to the auditorium, where guests could watch and listen live into the

PAVE’s Sabrina Lim, Jeffrey Lim and Stephen Teo with Epson’s Amy Kwa and Cogent Acoustics’ Robert Soo

sessions on a 2x2 set of Samsung 4K displays and myMix personal mixer units. More networked AV solutions were showcased in the auditorium, where PAVE had deployed a main system of Outline Mantas 28s with Sub 218s, fed via Dante from a Yamaha CL5 console through Powersoft X4 ampliﬁers. Speeches were delivered through Sennheiser’s Digital 6000 series. A 4.8m Samsung P2.5 LED wall and a selection of Epson projectors allowed guests to compare. ‘We are showing some of our ﬂagship products here, including our brightest-ever 25,000-lumen laser projector, the EB-L25000U,’ said Epson’s Amy Kwa. The day ended with Robert Soo, principal consultant and trainer at Cogent Acoustics, delivering a speech on the history of AVoIP. ‘We also demonstrated it in typical conferencing applications with remote controlling and switching sources with much of the infrastructure being in the traditional way,’ he said. ‘It’s about educating the guests about upgrades and better solutions for the future.’ www.pave.com.sg

Term begins at Yamaha Audioversity WORLD: Yamaha sales subsidiaries around the world have consolidated their training offerings. All Yamaha training initiatives will now be conducted under the new Audioversity banner. ‘With the breathtaking pace of change in the pro audio world, manufacturers have a responsibility to do much more than simply release new products,’ said Yoshi Tsugawa, general manager of Yamaha Pro Audio (Japan). ‘Through

our Audioversity initiative, we will be able to provide ongoing added-value for the systems our customers need and depend on, and, hopefully, in cooperation with everyone involved in the pro audio industry, play a role in driving the industry forward into the future.’ The manufacturer states that more than 80 specialists based in 19 regional ofﬁces around the world deliver education and training tailored to the needs of their speciﬁc locations. The Y-DACC (Yamaha Digital Audio

Creative Center) was established in Tokyo in 1990, allowing customers to gain hands-on experience with products. This was followed in 2000 with the opening of similar sites across Asia, Europe and America. Yamaha product specialists are also regularly deployed to dealers and venues to conduct practical training workshops. The company has more recently expanded into web-based online seminars to reach a wider audience. Through all these types of activities, Yamaha has delivered

training to approximately 100,000 people in more than 50 countries. The new Audioversity branding has been designed to symbolise a more involved era of education and training. This, Yamaha anticipates, will result in increased customer conﬁdence and satisfaction when using its products. ‘Having met Yamaha customers from more than 40 countries around the world, I know that Audioversity will meet the needs of many sound engineers,

systems designers and operators at professional, enthusiastic amateur and beginner levels, not only with face-to-face sessions, but also with new remote learning and web-based content,’ said Andy Cooper, Yamaha Audioversity trainer. ‘All our skilful and experienced trainers, writers and presenters are ready to reach more people with more helpful technical materials than ever before.’ www.yamahaproaudio.com

ANSI expands AVIXA CTS recognition WORLD: AVIXA has extended the global reach of its Certiﬁed Technology Specialist (CTS) training programme. The programme is accredited by the American National Standards Institute (ANSI), which has just become a signatory of the International Accreditation Forum’s (IAF) Multilateral Recognition Arrangement (MLA), therefore boosting the international recognition of CTS.

50 PRO AVL ASIA Januar y–Februar y 2019

‘ANSI accreditation provides assurance that the three certifications offered by AVIXA meet the stringent requirements of ISO/IEC 17024 and acceptance of these certifications among signatories to the IAF MLA,’ said Dr Vijay Krishna of ANSI. With ANSI’s acceptance to the IAF MLA, AVIXA’s certifications are now the equivalent of courses accredited by local accreditation bodies in 34 countries. This number will likely

grow as more accreditation bodies become signatories. ‘We champion initiatives that support a global workforce,’ said Adrienne Knick, director of certiﬁcation at AVIXA. ‘The work our members do requires them to cross international borders and recognition of their professional certiﬁcation does now, too.’ www.ansi.org www.avixa.org

NEWS: EDUCATION

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SINGAPORE: Loud Technologies Asia (LTA) recently conducted a seminar to deliver rigging safety awareness at its Singaporean showroom. This seminar, held in response to demand from the local entertainment industry, was organised in conjunction with Prolyte Asia Paciﬁc (PAP) and was led by technical manager Jasper van der Sluis, also director and co-owner of Protos.

owner and managing director. ‘The seminar aimed to make our industry aware of important day-today rigging scenarios that can result in unexpected outcomes. One scenario shown involved using load cells and the different reactions they have on a truss suspended from three chain hoists and by moving the load over the truss, as well as what can happen when hoists are not running at the same

6KXUH·V 6$, LQWURGXFHV ,QWHJUDWHG 6\VWHPV &HUWLÀFDWLRQ WORLD: The Shure Audio Institute (SAI) has added a new syllabus: the Integrated Systems Certification Programme. The programmes comprise two levels and are aimed at Shure’s channel partners as well as AV technicians, systems integrators and audio engineers. Level 1 focuses on sales enablement, while Level 2 covers the technical side of Shure’s product training and understanding. Level 1 and Level 2 offer separate certifications; however, those who wish to take part in Level 2 must first complete Level 1. Each

course can be taken in person or online. With a focus on sales, Level 1 includes courses such as Audio Basics for Meetings and Conferences, Wireless Basics, Integrated Systems Portfolio Overview and Best Practices for Interacting with IT Professionals. Meanwhile, Level 2 is more technical in nature with modules including Shure Wireless Master Course: Wireless Best Practices and Techniques, the two-part Networking for AV Professionals course, Conference Room Design Basics, and Dante Level 1 and Level 2 certiﬁcation administered

by Audinate. ‘As the market continues to expand and evolve, certifications have become the industry standard, ensuring AV professionals fully understand the product prior to being in the field,’ said Dave Klein, global director of the Shure Audio Institute. ‘Through the Integrated Systems Certification Programme, we have developed content that offers sophisticated training to deliver consistent technical and product instruction, all with the goal of increasing customer loyalty and trust.’ www.shure.com

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- Compact multipurpose system with monitor position. ‘Although we are the Prolyft Service Point for Singapore and dedicated dealer for Prolyte, Doughty and Protos load measuring systems, we believe that it is important to show as many aspects of safe rigging in general, regardless of the brand or country of origin,’ said Colin Quek, LTA

speed, when old and new hoists are combined or have different loads to carry and other factors that create drastic loading variations, which can result in overloading the hoist and truss.’ www.loudtechnologiesasia.com www.prolytepap.com

RTS launches online training WORLD: RTS Intercoms has released an online training platform as part of the Bosch Academy. The interactive eLearning courses are available for free and can be accessed on a computer or laptop, as well as on mobile devices such as tablets and smartphones. ‘Every product is unique and so are each of their functions,’ said

Sven Bindels, global lead trainer and systems engineer at RTS. ‘In order to support the learning process for our devices, we are delighted to announce that our brand-new eLearning courses are now available on the Learning Management System (LMS) of the Bosch Academy.’

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Januar y–Februar y 2019 PRO AVL ASIA 51

DISTRIBUTION beyerdynamic tweaks APAC distribution APAC: At more than 90 years of age, the pace has not dropped for beyerdynamic. The German microphone and headphones manufacturer launched a new corporate identity in August 2018 following the successful launches of its Unite and Phonum platforms at ISE. Similarly, its southernmost and northernmost representatives within its Asia Paciﬁc distribution network have been tweaked to better ﬁt the company’s sales direction. Following Syntec’s decision to solely concentrate on Australian sales, beyerdynamic APAC sales and marketing director Kamal Mahtani has appointed three different partners to distribute the manufacturer’s diverse product range in New Zealand. Auckland-based Computer Lounge now handles the consumer and

gaming headphones portfolio, while Rockshop has been handed beyerdynamic’s professional and MI range of headphones and microphones. Meanwhile, Adamson, RCF and TASCAM distributor Direct Imports has taken on responsibility for the installed sound range. Direct Imports was incepted in 1946 and is headquartered in Hastings. Greer Compston explained the rationale in expanding its portfolio. ‘Coinciding with the investment made in our new Auckland Experience Centre and additional sales staff, our install business has grown. The timing was right to grow our Install product portfolio by adding a strong brand. beyerdynamic complements our other brands and, with a product such as Unite, I’m conﬁdent that we will really open up the market here

Kamal Mahtani

in New Zealand for them.’ In Japan, Soundhouse now assumes distribution for beyerdynamic’s range of professional MI microphones and pro headphones. ‘Soundhouse are a household name in Japan,’ explained Mr Mahtani. ‘Based on their extensive experience and understanding of digital marketing, they are capable of driving and extending our brand reach. ‘Coinciding with our new brand identity, beyerdynamic is naturally excited to be extending its sales network in Japan and New Zealand with these new partners.’ www.beyerdymanic.com www.computerlounge.co.nz www.directimports.co.nz www.rockshop.co.nz www.soundhouse.co.jp

Mahajak Trio announces Bosch partnership MALAYSIA: Bosch has named Mahajak Trio Electronic as its new distribution partner for Malaysia. The announcement was made during the distributor’s Partner Appreciation Dinner at the Four Points by Sheraton Malaysia, which was attended by the minister of communications and multimedia, Gobind Singh Deo, as well as several of Mahajak Trio’s customers and partners, including dealers, endusers, consultants, suppliers and systems integrators. The distribution arrangement covers Bosch’s pro audio brands Electro-Voice and Dynacord. In addition to distributing the range of loudspeakers, mixers, ampliﬁers, signal processors, microphones and

AV control systems, Mahajak Trio will provide consultancy services, technical advice and conduct training, in addition to testing and repair services. A spokesperson from Bosch noted how extensive Mahajak Trio’s coverage of the Malaysian market is, having provided audio solutions for a wide range of sectors and applications, such as broadcast facilities, performing arts and concert halls, stadiums, convention centres, shopping malls, educational facilities, corporate and government complexes, hotels and casinos, restaurants, bars and HOWs. www.bosch.com.sg www.mahajaktrio.com

ASA picks Audio Brains

ASA’s Bjorn Van Munster with Audio Brains’ Fujii Shuzo and Sam Yamashita JAPAN: Astro Spatial Audio (ASA) has entered the Japanese market with the appointment of Audio Brains as its ofﬁcial solutions partner. Audio Brains will deliver training and support while spearheading ASA’s expansion into the country’s live entertainment sector. Audio Brains is part of the MSI

Japan group. Its distribution roster includes various pro audio heavyweights such as Powersoft, Avid, Symetrix and Martin Audio. ‘Few companies within our industry possess the experience or prestige of our new solutions partner,’ said ASA’s managing director, Bjorn Van Munster. ‘I’m very conﬁdent that we will achieve

52 PRO AVL ASIA Januar y–Februar y 2019

great things together in Japan. We are both delighted and honoured to welcome Audio Brains into our global family.’ Audio Brains director Sam Yamashita explained that his company’s enthusiasm for Astro Spatial Audio partially stems from the system’s ability to work with every brand of professional loudspeaker: ‘Astro Spatial Audio can be used with any loudspeaker you choose, whereas other systems are made by speciﬁc manufacturers for use exclusively with their own speakers. It is the best solution for achieving a fully immersive audio experience while having the freedom to use the equipment you choose.’ www.astroaudio.eu www.audiobrains.com

Madrix teams up with Xenian in ANZ ANZ: Xenian has been appointed as the new exclusive distributor for Madrix LED lighting control products in Australia and New Zealand. The new partnership was announced by Madrix parent company, inoage GmbH. ‘We are delighted to have Xenian as our exclusive partner for the distribution of Madrix products in this region,’ said Madrix sales manager, Christian Hertel. ‘Xenian not only has the complete product family available from stock, but will support customers perfectly with expert Taylor Chadwick, who is a very experienced Madrix user and is able to provide technical assistance to Madrix projects

from small to large scale. We believe that our experience in LED lighting control and continuous releases of innovative products together with Xenian’s strength and reputation will open the doors to a strong relationship and the right market share.’ ‘I believe that this new partnership provides a fantastic opportunity to further highlight the unmatched power and versatility of the Madrix control platform to our local lighting market,’ commented Mr Chadwick. www.madrix.com www.xenian.com.au

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NEWS: DISTRIBUTION

K-array partners with Westco PHILIPPINES: K-array has appointed a new distributor for the Philippines in the form of Westco. To ofﬁcially launch the brand in the country, Westco held an unveiling event at the Vu’s

Protus launches in Asia MALAYSIA & BRUNEI: A new Dutch-based company, Protos, specialising in load and force monitoring systems, has launched to serve the entertainment industry and appointed Prolyte as its distributor for Malaysia and Brunei. ‘Through our work with Prolyte and Doughty Asia Paciﬁc and Prolyte Doughty Japan, we have noticed a strongly growing demand for force measuring equipment on a global scale,’ said Jasper van der Sluis,

how K-array can ﬁgure in the Philippines’ booming spaces,’ said Vincent Jason V Peñalosa, Westco VP, sales and marketing. ‘The needle of the K-array compass is innovation

Cor van der Sluis

Bar of the Marco Polo Hotel in Ortigas, which was supported by K-array’s APAC sales director, Marc Vincent, and project support specialist, Daniele Mochi. Guests included some of the city’s top inﬂuencers as well as renowned Manila engineers, architects and interior experts. ‘When the audience realised the power and capacity of the offerings, it became clear

and they have the ability to understand clients’ needs by realising products once considered unimaginable. They are quick to install and light to handle, providing an abundance of time and cost savings. We are excited to work with them and see much success in the upcoming year.’ Jasper van der Sluis

www.k-array.com

director and co-owner of Protos along with his brother and business partner, Cor van der Sluis. The company will offer both wireless and wired force measuring solutions for temporary structures, arenas and other venues that host shows on a regular basis, and has recently acquired partners in China, Australia and India while it focuses on further product development.

‘We are still expanding the load measuring system by adding functionality based on feedback from the industry. We’re now working on a cloud service that, among other things, will make it possible to send (overload) messages remotely to any device connected to the cloud, mobile or otherwise,’ added Cor van der Sluis. www.prolyte.com www.protos-one.com

AuviTran teams with Digigram Asia APAC: Digigram Asia has been appointed as the exclusive distributor for the entire AuviTran product catalogue across the APAC region. As well as supplying the French manufacturer’s solutions, such as the BOB range, ToolBox series and AV-Wall family, across the territory, Digigram Asia will also provide customer service. ‘Working with Digigram Asia was an obvious decision for us, not

Maud Ansade and Nancy Diaz Curiel

only because of the numerous synergies our companies share, but also to increase our proximity to customers in the region,’ explained Maud Ansade, AuviTran’s head of international sales. ‘It will allow us to have a single point of communication for the entire area and we will beneﬁt from the long-term experience and network of the Digigram Asia team to increase our market

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54 PRO AVL ASIA Januar y–Februar y 2019

shares in the region.’ Nancy Diaz Curiel, regional manager at Digigram Asia, added: ‘Our common past of technological partnership combined with strong human connections make this new partnership a per fect ﬁt to widen our APAC market activity.’ www.auvitran.com www.digigram.com

NEWS: DISTRIBUTION

Williams AV announces new Indian vision INDIA: Williams AV has named Visionhire Entertainments its new Indian distribution partner. Visionhire will represent the Williams Sound, Pointmaker and Williams AV product catalogues. The agreement was made following a meeting between William AV’s director of

Visionhire has a presence throughout India, employing almost 300 people across 12 locations. Mr Lulla explained how he sees Williams AV solutions ﬁtting into his company’s offerings: ‘I am excited about the innovative new meeting room solutions, including Audio Presenter Hub

Lawo partners with Village Island JAPAN: Lawo has appointed Village Island as its ‘IP broadcast solutions par tner’ in Japan. Village Island ser ves as a distributor across Asia Pacific. ‘Village Island’s experience and exper tise in IP broadcast environments ensures that our mutual customers will achieve optimal results, from project specification through design and integration, to ser vice and ongoing suppor t,’ said Gregor Erlitz, Lawo’s APAC head of sales. ‘This is why Village Island is a natural choice for sales and project suppor t across our product por tfolio.’

‘Village Island customers and business par tners beneﬁt from almost two decades of experience, close cooperation to international suppliers and highly deﬁned technical consulting skills, carefully constructed planning and professional execution of all projects,’ explained Village Island president, Michael Van Dorpe. ‘We went through many possible choices that would be complementar y to our existing range. We are not only happy to cooperate with Lawo because of its proven and innovative products, but especially

because of the advanced networking technology with IP broadcast core infrastructure solutions offered. ‘In the coming years, we will expand our market presence in the region, giving us closer proximity to customers, bringing faster and focused suppor t ser vices, and making products available more quickly where needed. Suppor ting this, Village Island will enhance training programmes for our par tners and our own staff, to more effectively leverage products and modern technologies.’ www.lawo.com

Per Persson and Siddharth Lulla at InfoComm India international sales, Per Persson, and Visionhire managing director, Siddharth Lulla, at InfoComm India. ‘I was immediately impressed with [Visionhire’s] enthusiasm, motivation and professionalism,’ recalled Mr Persson. ‘Visionhire has a very good understanding of the Indian market and an impressive footprint in this rapidly expanding market for AV products.’

and Blue Pod. We also see a high level of interest for the ﬂexibility of the Digi-Wave portable tourguide, interpretation and intercom system, while the Pocketalker personal ampliﬁer should have a very positive social impact, offering high-quality hearing enhancement at a reasonable price.’ www.swiftvisionhire.com www.williamsav.com

Hills completes solutions portfolio

David Lenz AUSTRALIA: Hills has signed an exclusive distribution agreement with Chiayo Electronics to supply the Taiwanese manufacturer’s range of por table PA products in Australia.

‘From portable public address systems to professional pro audio products, Hills has a comprehensive line-up of AV brands and is truly a one-stop shop for AV solutions,’ said Hills CEO and managing director David Lenz, following the agreement with Chiayo. ‘Chiayo will complement existing brands like Australian Monitor, and create opportunities across key verticals like education, retail and hospitality.’ Chiayo president David Kung looks forward to building a strong relationship with Hills. ‘They are a strong distributor with a solid support infrastructure and a deep understanding of the AV sector,’ he said. www.chiayo.com.tw

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Januar y–Februar y 2019 PRO AVL ASIA 55

APPOINTMENTS Adam Hall Asia appoints country manager for India INDIA: Adam Hall Asia has appointed Nagaraj Kenchi Mallikarjun as its new country manager for India. Mr Mallikarjun possesses 17 years of experience in the AV, automation and IT industries with a skill set encompassing business development, marketing, supply chain and distribution management, project management and customer service. ‘With a market the size of India, it was inevitable that we hire a country manager capable of

gathering strategic information for the group to help grow our presence and distributors to further invest in the country,’ said Chandan Mahtani, managing director at Singaporebased Adam Hall Asia. ‘We are very pleased with Nagaraj and the vast experience he brings on board.’ Mr Mallikarjun is conﬁdent that his track record makes him a good match for the role. ‘My long-term goal is to contribute to the growth of the company in this region.’ www.adamhall.com

EAW names VP of global sales WORLD: Eastern Acoustic Works (EAW) has promoted Jim Newhouse to the role of vice president of global sales. Mr Newhouse previously served as the manufacturer’s North American sales director from 2015. ‘Jim has repeatedly demonstrated his ability not only to create relationships and sell but to rally the best out of those around him,’ commented EAW president, TJ Smith. Before joining EAW, Mr Newhouse was a regional sales manager at Bose and owned and operated an AV systems integration company, Clear Signal. In his role as North

American sales director at EAW, he established a direct sales team, increased installation market revenue and initiated the company’s dealer incentive programme. ‘When given the opportunity to build and lead the EAW North American sales team, I was determined to surround myself with the strongest team,’ Mr Newhouse declared. ‘Our North American sales team understands our customers’ needs and continually rises to the occasion. We all continue to grow together; iron sharpens iron. Our goal is to make sure that our international

customers and team are as tightly connected as our North American team.’

Australian Monitor strengthens pro position AUSTRALIA: In a bid to strengthen its position in the pro audio industry, Australian Monitor has appointed Mark Condon as national sales manager. Mr Condon has almost 20 years of AV industry experience encompassing commercial installations and live sound production. Australian Monitor, a subsidiary of Hills Limited, manufactures ampliﬁers, mixers, mixer ampliﬁers, speakers, microphones and accessories for the commercial and pro audio markets, exporting its wares to 15 countries across Europe, South East Asia and the Middle East. Mr Condon previously served as the technical sales and support manager for Northern Australia at Yamaha Commercial Audio Australia, gaining eight years of relevant experience for his new position. Prior to that, he held project management, systems design and sales roles at The PA People and has worked as a freelance audio engineer for live sound and

touring applications across Sydney. ‘Mark’s experience as an audio engineer and systems designer means he understands the needs of the end-user and can advise the best solution for the application,’ said Euan Brown, GM of Australian Monitor. ‘His expertise will be an asset as we strengthen Australian Monitor’s presence in the commercial installation sector.’ www.australianmonitor.com.au www.hills.com.au

www.eaw.com

Lynx Technik welcomes Stefan Gnann as CEO WORLD: Stefan Gnann is the new CEO of Lynx Technik. Former CEO Winfried Deckelmann will continue to serve as chairman of the company’s supervisory board. ‘One of my key roles at Lynx, backed by our global team, will be to drive product development and market share leadership to meet both the short- and longterm demands of our production, postproduction, contribution and content distribution customers,’ Mr Gnann explained.

Winfried Deckelmann, chairman of the supervisory board and Stefan Gnann, CEO of Lynx Technik

Mr Gnann has extensive broadcast sector experience, which includes leading VTS Videotechnik Selhuber GmbH as managing director before overseeing the merger between VTS and sono Studiotechnik GmbH to form sonoVTS GmbH. ‘I want to personally welcome Stefan to the Lynx Technik team as our new CEO,’ said Mr Deckelmann. ‘He brings with him invaluable business acumen, leadership, technology knowledge and

experience having worked in the broadcast industr y for so many years. Stefan has a clear passion for technology and innovation and is an excellent ﬁt to lead our team and achieve the vision of Lynx Technik. We have maintained a strong relationship with Stefan over the years, and his input as a customer and par tner has been inﬂuential in a number of our key product developments.’ www.lynx-technik.com

Stagetec Asia hires marketing executive MALAYSIA: Amzar Anaqi has been hired by Stagetec Asia as its new marketing executive. He takes responsibility for the entirety of the distributor and systems integrator’s marketing activities and will draw upon eight years of broadcast sector experience. Inspired by the music industry, Mr Anaqi earned a master’s

56 PRO AVL ASIA Januar y–Februar y 2019

degree in mass communications. His dissertation was titled The Influence of Heavy Music Towards Young Adults in Malaysia and it was during his research that Mr Anaqi first encountered Stagetec Asia. ‘Back then I hoped to be part of the company someday,’ he recalled. ‘Now the day has finally come.’

Since completing his master’s, Mr Anaqi has served as a content editor at iSentia, a producer and business development manager at Manggis Corporation, and a scriptwriter for a variety of television, theatre and short ﬁlm projects. He gained experience relevant to his new role at Stagetec Asia while working as the event and brand

manager at Sisi Seni Production. ‘I’ve been more involved in the creative side of the industry,’ Mr Anaqi said. ‘I am now planning to use my creative background for marketing purposes, to create more awareness for the Stagetec Asia brand and to enhance sales.’ www.stagetecasia.com

NEWS: APPOINTMENTS

d&b audiotechnik appoints new Japan MD JAPAN: d&b audiotechnik has hired a new managing director for Japan, Hideki Yajima. Having worked with international teams and leading divisions, most recently as national sales manager for Shure Japan and sales director at Bose Japan, Mr Yajima joins the ﬁrm with a wealth of experience. ‘We are delighted to be writing the next chapter in d&b Japan’s success story with a proven expert in the pro audio world,’ said Amnon Harman, CEO of d&b audiotechnik. ‘Yajima-san is the right person to further develop our business and establish a broader market reach. He will be instrumental in bringing the d&b brand even closer to our customers and partners in Japan.’ Mr Yajima, who has held various senior positions across the pro audio industry in Japan for over 20 years, said: ‘I am honoured to be a member of the team of one of the most advanced technology companies. I look forward to the

next steps of the expansion of d&b in the Japanese market.’

0DUWLQ $XGLR QDPHV ÀUVW international sales director WORLD: Martin Audio has promoted Bradley Watson to the new role of international sales director. One of the company’s longest-serving executives, Mr Watson was most recently sales manager for the EMEA region. Mr Watson is described as instrumental in building Martin Audio’s domestic sales during the 2000s. He left the British manufacturer in 2010, maintaining a close relationship with the company while working as an installer. In September 2016, he rejoined the company as the EMEA sales manager. ‘Since my return to Martin Audio, I have been proud to be part of a team that’s been instrumental in bringing over 30 new products to market in just over 24 months,’ said Mr Watson. ‘As EMEA sales manager, I inherited many long-standing relationships and distribution partnerships that my predecessor and good friend Martin Kelly

worked hard to forge prior to his retirement, and I have greatly enjoyed the role to date. ‘With the advent of Scalable Resolution, in the form of Wavefront Precision, we have

experienced well-managed growth over the two years, with an exciting product roadmap that will provide even greater opportunity to explore new market sectors. The new role as international sales director will offer greater scope, as part of the new Martin Audio family, to further inﬂuence and develop our business in these segments, alongside our territory managers throughout the UK, EMEA, APAC and LATAM.’ Martin Audio MD Dom Harter commented: ‘Brad has been instrumental in driving sales growth in EMEA and fostering strong relationships throughout the territory. As Martin Audio has grown around the world, the need to introduce an international sales director role is prudent to help plan and execute our next wave of commercial success, and Brad is perfect to take on that responsibility.’ www.martin-audio.com

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Januar y–Februar y 2019 PRO AVL ASIA 57

NEWS: APPOINTMENTS

AVIXA names APAC marketing manager

Synamedia reveals APAC SVP

APAC: The Audiovisual and Integrated Experience Association (AVIXA) has appointed Liz Shaw as its marketing manager for the Asia Paciﬁc region. Based in Brisbane, Australia, Ms Shaw will lead the association’s marketing activities across the APAC region, including member communications and have a presence on the AVIXA booths at their trade shows and educational events. She will also develop strategic partnerships with AV manufacturers and distributors. ‘We are happy that Liz has accepted this newly created, full-time position,’ said Jonathan

APAC: Video software and solutions company, Synamedia, has appointed Sue Couto as senior vice president and general manager of APAC. With ofﬁces in India and China, Synamedia’s portfolio of media customers includes Disney, Comcast, Astro, Bharti Airtel, China DTH, Foxtel and Tata Sky. Ms Couto will be joining Synamedia’s executive team to drive growth and expand business relationships across Asia Paciﬁc. She will have overall responsibility for sales, marketing, partners and delivery in the region and brings over 20 years’ experience in senior leadership roles in the TV and broadcast industries in Asia, most recently as senior vice president of APAC sales for TiVo, where she was responsible for the overall sales strategy of software solutions. Prior to this, Ms Couto

Seller, senior director of development for the Asia Paciﬁc region at AVIXA. ‘She has been working for AVIXA part-time as a

marketing contractor for almost three years, and we are excited to have her on board with her wealth of knowledge and experience gained over many years in the industry.’ In fact, Ms Shaw draws from 17 years of marketing and communications experience in the technology and AV industries. Before joining AVIXA, she served as a marketing communications consultant and worked for companies such as Extron in North America and Europe. www.avixa.org

NOA welcomes sales director for Asia ASIA: AV digitisation and archiving solutions provider NOA has appointed Abderrahmane Bessaih as sales director for Asia and the MENA region. Mr Bessaih is tasked with developing and executing sales strategies while expanding and maintaining the company’s customer base across both territories. Possessing more than 20 years of experience in the telecom and broadcast sectors, Mr Bessaih most recently worked as senior business development consultant

at Netia, developing strategies for the MEA region. He has also served as a director of business development for North and West Africa at Newtec and as director of MEA business development for Genesis Networks. ‘We welcome Abderrahmane Bessaih, who already connected with our team through his long-time passion for archives,’ commented NOA managing partner, Christophe Kummer. ‘His knowledge and expertise in dealing with the Middle East AV archive market

will prove a great asset for our company.’ ‘I have known NOA since its early days and have always been impressed by the quality of its products and solutions,’ added Mr Bessaih. www.noa-archive.com

collaboration with customers. ‘We look forward to seeing [Stephan] lead our new consulting initiatives in APAC and EMEA and reinforcing the IP experience we have already gained through the deployment of a signiﬁcant number of projects around the world,’ commented Mathias Eckert, SVP and GM, EMEA/APAC at Imagine. www.imaginecommunications.com

www.synamedia.com

Nortek appoints director of international sales

Imagine hires international consulting director WORLD: Stephan Heimbecher has joined Imagine Communications as international director of consulting services. He possesses more than 25 years of broadcast sector experience, the last 16 of which were spent at Sky Deutschland where he oversaw ‘innovation and standards’. In his role, Mr Heimbecher will manage a team to help solve challenges that face the broadcast and media sectors, working in

was senior vice president of video software solutions at Cisco. ‘Synamedia is the ideal partner to help operators in Asia Paciﬁc both innovate and capitalise on new opportunities in today’s dynamic media landscape,’ said Ms Couto. ‘As an independent company with renewed investment reﬂecting a new vision, we look forward to working with customers as they transform their businesses.’

WORLD: Horacio Morales has received a promotion at Nortek Security & Control and will now serve as director of international sales for the company’s CI and security divisions. He was previously the manufacturer’s sales manager for the Latin America and Asia Paciﬁc regions.

‘As our sales manager for Latin America and Asia Pacific, Horacio had a substantial impact on our growth,’ said VP of sales Jeff Costello, to whom Mr Morales reports. ‘Recently, we created a new role to leverage the synergies between our control and security business internationally, and are confident that Horacio is the right sales leader to grow ELAN, 2GIG and other brand sales in all regions.’ Mr Morales is eager to expand Nortek’s global presence. ‘I am honoured for this new opportunity to continue strengthening Nortek Security & Control’s global footprint,’ he said. ‘Our products are significantly altering the smart home and security landscape.’ www.nortekcontrol.com

Radial brings in Craig Hutchison WORLD: Craig Hutchison has joined Radial Engineering as a senior design engineer. He will work with the engineering and product management teams on new products. Mr Hutchison has more than 20 years of experience in sound design. He started his career as

an FOH engineer before occupying roles such as chief engineer at the Electric Lady Studios in New York and chief designer at Manley Labs. Mr Hutchison also spent time on the R&D team at Rupert Neve and has provided consultancy for manufacturers including Adamson, SSL and

58 PRO AVL ASIA Januar y–Februar y 2019

Waves. He has been involved in the design of products that have won more than 15 TEC awards. ‘Like many working professionals, Radial has been on my radar for over 20 years,’ Mr Hutchison commented. ‘I took special interest in the company when I heard about the Key-Largo

keyboard mixer and the new leadership of Mike Belitz. The company is propelling forward and I’m excited to be working with new products that leverage the latest technology while meeting the needs of professionals.’ www.radialeng.com

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ArmoníaPlus efficiency Powersoft has built upon its Armonía platform to create a more efficient user experience in ArmoníaPlus HAVING PREVIOUSLY emphasised energy efficiency in its range of power amplifiers with the Green Audio Power initiative, Powersoft Audio has now set its sights on workflow efficiency. Powersoft’s R&D redesigned its Armonía remote control and monitoring software solution with the aim of building ‘the most efficient audio design environment on the market’. The result is ArmoníaPlus, The new ArmoníaPlus interface is described by the Italian manufacturer as ‘loudspeaker-oriented’ and has been developed to mimic the real-world and the physical process of audio design with a workflow approach that is both simple to use and easy to navigate. A simplified, guided workflow, created from the ground up, leads users through the entire process, from system design to showtime using intuitive hotkeys and easy-to-read icons. A single window offers four main views: Workspace, System List, Operator View and Events. Workspace is the interface’s main display, allowing systems engineers to plan and work. The Workspace view is divided into two

parts: amplifiers occupy the left-hand side of the screen while loudspeakers are located on the right. A variety of functions become available to users as they progress through the four main steps: design, configuration, tuning and show. As soon as the link function is completed, further operations can then be carried out at the loudspeaker directly. The Powersoft development team has also made the process of auditioning presets as simple as selecting which loudspeakers to control. This means that their applications can be changed via the Tune:Preset page. The layout and all control mechanisms have been designed to appear visually intuitive. This visual intuition impacts the workflow greatly, as amplifiers can be added directly to a rack, while loudspeakers can be grouped together, vertically and horizontally in ArmoníaPlus as you would expect them to be in the real, phyiscal world. In addition, arrays of loudspeakers can be grouped together so that when linking amplifiers, an algorithm in the software will automatically select the next item, based on proximity, model and position

on the screen. This function has been included to help avoid manual errors. ArmoníaPlus also provides users with the ability to create advanced groups of loudspeakers, making it possible to adjust gain, delay, polarity and EQ. The GUI has been programmed to deliver information in a way that is easy to absorb. Meanwhile, the inclusion of a new page, Tune:EQ, facilitates monitoring of the overall curve applied to each speaker or group. A headroom meter adapts its LEDs based on the limiters of the speaker, allowing users to see how hard the speakers are being driven at a glance. With simplicity and workflow efficiency at the heart of Powersoft’s intentions, ArmoníaPlus is designed to be free from sub-menus. Every function is available via either a right-click or a hotkey. For example, to set amplifiers to static IP mode, users can simply select the corresponding devices and the software will assign the available addresses progressively, starting from the desired one.

ADAM Audio Studio Pro SP-5/AX skins Airstar Cinestar/Neo AJA Kona 5/IPR-10G2-HDMI and IPR-10G2-SDI Allen & Heath SQ V1.3/SQ Waves card Altman Lighting AP-150 Amate Audio X212AF/X218WF Amphion FlexBase25 AMS Neve Neve Genesys Processing Plugin Antelope Audio Edge Solo/Edge Duo/Edge Quadro API 1608-II/2448 Apogee Jam+ ArKaos Adds NewTek NDI to products Atlona Omega Series Attero Tech D2FLEXio/Zip4 Audient iD Mixer Audio Limited A10-Rack Audio-Technica ES954/BP28/BP28L Avid Maestro Engine/Maestro PowerWall Avolites Ai Q3 Ayrton Bora-S/Khamsin-S Bittree DSFB124NL Series Blackmagic Design Blackmagic RAW Broadcast Pix BPswitch RX BroaMan Mux22 FrameSync8/Optocore for Mux22 devices BXB MT-2/HDR-731 CEDAR Audio Cambridge v12/Cambridge Silent 1 Celestion CDV1-1757 Christie D4K40-RGB/UHD861-LT Clear-Com InSite/V-Series Iris Panel/Mentor CX Community R.35-3896-EN Dejero EnGo updates/Core 5.1 update Digigram IQOYA X/Link-MPX DirectOut Prodigy.MC Elation Rayzor 760/TwinkLED/Artiste Van Gogh ELC Lighting DLN8GBXSL Electro-Voice ZLX-12BT/ZLX-15BT Extron NAV Series/TLS 1025M/TLP Pro 725C/IN1804 GLP impression E350 Heritage Audio HA-73 EQX2 iZotope RX 7/Insight 2 JVC BR-DE900/DT-U and DT-G series KLANG:technologies Kos 3.1 L-Acoustics/QSC Plug-in for P1 and Q-Sys Lawo A__Line WAN edition/vm_udx/Power Core Lynx Technik AIR (All Independent Remote) Processing Merging Technologies Pyramix 11.1 NewTek NDI Software Developer Kit/NC1 Studio I/O module Next-proaudio Audio Tool Software NTP Technology Dante expansion card Pascal L-PRO2S/S-PRO2/U-PRO2S/U-PRO2SD Peerless AV PJR250/RMI3-Flip/SR560-Flip Powersoft ArmoníaPlus PreSonus CDL-series QSC CP Series/Q-Sys NS Series RCF TTL 4-A/TTP 4-A/E Series Robe SuperSpikie Rohde & Schwarz CMWﬂexx/SpycerNode Ross Video Carbonite Ultra/Ultritouch/PivotCam-SE RTW Speech intelligibility technology Schoeps M/S and Double M/S updates sE Electronics sE7/DM1 Dynamite/sE2300 Sennheiser 300 Pro series/SK 6212/Ambeo AR One Solid State Logic Fusion Sommer Cable SC-Mercator Cat.7 Sonifex AVN-CU2/AVN-CU4 Sony HXR-NX200/HDC cameras/BVM-HX310 Sound Devices MixPre Series Stage Tec Aurus Platinum version 4.7 Studer Micro Series V2.0 Studio Technologies Model 391/Model 374A/Model 5422 TASCAM IF-E100 Tasker C726 PUR/C728 PUR/T42 PUR/C128 PUR Telos Alliance VX Enterprise/VX Prime+ Vaddio PrimeShot 20 HDMI Vinten ﬂowtech 75/ceiling track system Williams AV Blue Pod/Blue Pod Air/Presenter Hub WyreStorm EX-70-G2 version two Yamaha MMP1 Version 1.1 Zylia ZM-1/Ambisonics Converter/Studio v1.7.2/Pro v1.3.1

68 96 86 82 96 64 62 73 68 66 86 94 92 73 80 76 68 86 95 96 89 94 90 79 70 74 64 88 80 64 89 78 76 95 94 62 84 96 66 82 90 82 72 78 86 80 94 80 74 64 88 61 62 64 62 96 82 90 76 70 68 67 66 85 76 92 72 81 81 74 79 85 76 92 94 70 84 81 70

www.powersoft-audio.com

1/4 PAGE Product information

w w w. ve r i t y a u d i o. f r TEL: +86-757-8512-9008 Headquarters: VERITY AUDIO SARL (253 Rue Saint-Honore, 75001 Paris France.) Chinese Exclusive Distributor: SAE Audio Co., Ltd.

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PRODUCTS

Line and point source options from RCF DESIGNED TO be deployed as either a line (L) or point source (P) speaker system, RCF is shipping the TTL 4-A and TTP 4-A active 2-way systems. Both models include RDNet remote control, dual 800W RMS Class-D ampliﬁcation, 4-inch HF compression drivers, dual 10-inch neodymium LF woofers with 2.5-inch voice coils and FiRPHASE 0° phase technology. Rated to operate within a 45Hz to 20kHz frequency range, the line source version provides 100° x 25° coverage, while the TTP 4-A model extends to a wider 100° x 50° area. The TTP 4-A point source variant can also be used as a

single module with a 100° x 50° coverage or as a horizontal cluster of two or three modules in either stacked or flown configuration for enhanced throw and SPL. The TTP 4-A waveguide can be moved and rotated to the centre of the cabinet, enabling it to be used as a single horizontal module, in clusters of three or as a down-fill for TTL 4-A clusters. Likewise, the TTL 4-A can also be used as a single module offering 100° x 25° coverage or as a line of multiple modules in stacked or flown column configuration. Comprising rigging solutions, a solitary cabinet can be used for 100° x 25° homogeneous coverage or stacked in a column. The 90°

rotatable waveguide can be moved from the upper to the central position, allowing the speaker to be arranged in constant curvature clusters with up to six modules. Meanwhile, the Italian manufacturer has unveiled the E Series of mixing consoles consisting of the E 24 (24 channels), E 16 (16 channels) and E 12 (12 channels). The E 24 includes 18 54dB gain range mic preamps with combo connectors and three stereo line inputs. The E 16 provides 12 mic preamps and two stereo line inputs, while the E 12 incorporates six mic preamps and three stereo line inputs. All three models also include two line inputs that are switchable to Hi-Z

Amphion extends its bass options FOLLOWING IN the footsteps of its low-frequency BaseOne25 and BaseTwo25 extension systems, Amphion has created the FlexBase25 stereo bass extension and management system incorporating a separate LFE-channel input that has +10dB sensitivity compared to the main channels but no builtin, low-pass ﬁltering. The LFE channel can be linked between several units which then allows building 7.2 and upward systems. The crossover frequency can be adjusted within a wide range of 35–260Hz. According to the manufacturer, the ability to control the mono/stereo spread ensures that the sub integrates even when a higher crossover point is used. FlexBase25 combines a subwoofer with two back-to-back, 10-inch

TTL 4-A input and a stereo return. On the E 24, channels 1 to 8 are equipped with a single-control

processor, on the E 16 this is the case for channels 1 to 6 and on the E 12 it’s channels 1 to 4. The 18 mono channels on the E 24 and the 12 mono channels on the E 16 are provided with 4-band EQs, including shelving high and low bands and two semi-parametric mid-bands (mid-high and midlow) with frequency selection and switchable Q choice (wide or narrow). The six mono channels on the E 12 are provided with 3-band EQs, including high and low bands and one semi-parametric mid-band. On all three models, the stereo input channels are provided with 3-band EQ. www.rcf.it

EV adds to ZLX series ELECTRO-VOICE HAS expanded its ZLX series with two Bluetooth audio streaming models: ZLX-12BT (12-inch/2-way) and ZLX-15BT (15-inch/2-way). Ideally suited for music playback or accompaniment, both models include the characteristics of their ZLX counterparts, such as QuickSmart DSP processing, which provides users with four presets, sub/top system match, 2-band EQ, ﬁve user-programmable presets, visual

monitoring of the limiter status, input level control and meters, and master volume control for optimising gain structure. The speakers include 1,000W Class-D ampliﬁers that deliver up to 127dB peak SPL and the company’s patented Signal Synchronized Transducers waveguide design. The three-handle design is incorporated into a rugged composite enclosure. www.electrovoice.com

FlexBase25 with FlexAmp500 woofers together with cabling and electronics. The system is powered by an external FlexAmp500 ampliﬁer which also

integrates a ﬁlter module within its 2U rack enclosure. www.amphion.ﬁ

The ZLX-12BT and ZLX-15BT

Point source meets line array COMBINING THE attributes of both point source and line array technologies, PreSonus has released its CDL-series loudspeakers for both portable PA and installed sound applications. The CDL12 Constant Directivity Loudspeaker comes with a companion subwoofer – the CDL18s Active Subwoofer. Both are Dante-enabled, powered enclosures that can be ﬂown as a vertical array or combined for ground-stacked applications to

create a complete loudspeaker system. The CDL12 consists of eight 2-inch drivers aligned in a segmented circular-arc, highfrequency array centred in front of a 12-inch woofer and is ideally suited for a broad range of venue sizes. With the sound projected from the centre of the enclosure, the controlled 120° horizontal coverage pattern is maintained, while the vertical coverage is expanded by 20° per box deployed.

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The result is a system that can be scaled from 20° to 120° of vertical coverage. The low 420Hz crossover frequency is said to minimise

comb filtering. As a line array system for fixed installations, the ability to fly five enclosures under one or two companion CDL18s

subwoofers provides flexibility when addressing room size. The CDL12 includes an integrated 500W x 500W Class-D power amplifier with onboard DSP presets. The CDL18s features a port configuration, four triangle-shaped ports and a custom 18-inch, low-frequency transducer with a 4-inch voice coil that can travel 7mm before over-excursion and handles 800W. Dante connectivity facilitates interoperability with a wide range of equipment, as well as integrated pin-loaded rigging and the ability to remotely control the DSP from Worx Control. www.presonus.com

PRODUCTS

;FHOOHQFH UHGHÀQHG WITH THE launch of the X212AF active 3-way loudspeaker, Amate Audio has heralded the latest member of the Xcellence family as its ﬂagship line array system. Designed for larger touring and event applications, the enhanced performance features of the X212AF module and its accompanying X218WF subwoofer promote rapid system set up and deployment capabilities. Delivering 100° x 8° (HxV) coverage, the V-shaped cabinet comprises dual 12-inch LF drivers,

four 6-inch midrange drivers and dual 3-inch HF neodymium drivers mounted onto a proprietary waveguide. In addition to providing a DSP platform for external control, the integrated thirdgeneration, Class-D ampliﬁcation delivers ample headroom to the LF, MF and HF drivers housed within discrete enclosures. DSP functionality includes parametric EQ options, while advanced FIR ﬁltering provides parameters including phase alignment and minimal latency.

Separate limiters with differing time constants are available to the LF, MF and HF elements. Ethernet connectivity enables remote system control, conﬁguration and monitoring via Amate’s DSP Studio application in addition to onboard support of Dante AoIP networking. A series of advanced DSP and power control presets

Community moves outside COMMUNITY HAS developed its R.35-3896-EN loudspeaker system to provide highquality voice and music reproduction normally associated with indoor loudspeakers. The speaker has been designed for ﬁll and supplementary areas in both small and large venues wanting to conform to EN54 standards. Equally suited for indoor applications, the speaker is ideal for background and foreground music and announcement systems in settings such as leisure centres, theatres, night clubs, cruise ships and theme parks. The R.35-3896-EN is a fully horn-loaded, triaxial, 3-way, full-range system that features the manufacturer’s MultiSource

Waveguide horn design, whereby the output from the dual midrange compression drivers and 1-inch exit HF driver are combined into a single, time-coherent source. The high-output, 3-inch voice coil, 8-inch carbon ring cone LF driver features a ﬂange-less frame design that permits a cone area nearly equivalent to a typical 10-inch driver, reportedly

resulting in high sensitivity and increased LF extension. The low LF/MR passive crossover point is said to improve midrange pattern control and elimination of horn colouration in the LF response. With a built-in autoformer, the R.35-3896-EN is certiﬁed for use in 100V distributed system applications. www.communitypro.com

promote ease of set up for deploying X212AF arrays in various conﬁgurations from a minimum of six modules. Presets include optimised performance parameters for systems that incorporate the matched X218WF subwoofer system. In addition to providing selection, a 3.5-inch TFT touchscreen mounted within the rear panel also includes visual monitoring of the system performance and protection parameters.

The accompanying X218WF subwoofer deploys dual 18-inch LF neodymium drivers with 4-inch, double-layer voice coils, within a sub-system that integrates the same acoustic geometry design principles of the X212AF. The bass-reflex design incorporates Class-D amplification, DSP system management, Ethernet control and Dante connectivity to mirror the operational specifications of the X212AF line array. www.amateaudio.com

Pascal amps up product catalogue

PASCAL HAS ramped up its production with the launch of six new ampliﬁer modules, spanning all manner of applications from live sound to commercial and custom installations. All six modules are designed to enable constant voltage (100/70V) and lowimpedance output mode operation. They are the L-PRO2S, S-PRO2, U-PRO2S, U-PRO2SD, L-A2 and S-A2. All six modules feature the manufacturer’s plug-and-play,

26-pin interconnect, allowing them to connect with a single front-end I/O or DSP board design. This means that a single front-end module can be used in multiple power ampliﬁer design conﬁgurations. They all also include Pascal’s UMAC Class-D technology for a high power density/low form factor ratio. Advanced real-time readouts for parameters such as protect/mute, temperature and clip signals are accessible for DSP and network control, as well as I/O stages. UREC PFC power supply technology facilitates universal AC mains operation. www.pascal-audio.com

QSC reaches a milestone

The CP family

DESCRIBED AS a ‘major milestone’ for the company, QSC has introduced its CP Series of compact powered loudspeakers. The ultracompact form factor and light weight are said to provide effortless transport and deployment in both

portable and installed applications. The CP Series is comprised of two 2-way models: the CP8 and CP12. Both models feature a 1,000W Class-D power module, one-touch preset DSP contours and line, mic/ line and 3.5mm stereo inputs. Each speaker can be pole-mounted, used as a ﬂoor monitor or deployed in a

ﬁxed or temporary installation. The US manufacturer has also launched its NS Series network switches that have been preconﬁgured to meet the performance requirements of the Q-Sys platform, as well as network AV technologies including AES67, Dante and Q-LAN video streaming and distribution.

The switches are said to provide an out-of-the-box, plug-and-play solution for Q-Sys integrators building local AV networks. They also provide a number of PoE+ capable ports for convenient connection of networked AV peripherals. www.qsc.com

Celestion enhances vocal output THE CDV1-1757 from Celestion is a compression driver speciﬁcally designed for optimum performance across the critical vocal band. The driver features Celestion’s 1.75-inch edgewound copper clad aluminium voice coil; a single piece polyimide

diaphragm/surround; and an FEA-optimised magnet assembly and phase plug. This is said to enable the driver to deliver 120W continuous power handling (60Wrms, AES standard) and 107dB sensitivity. A standard 1.38-inch screw ﬁtting provides

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maximum compatibility with a range of Celestion and third-party horn ﬂares. ‘By taking a fresh look at one of our existing designs – modifying the phase plug and optimising the volume of the rear-loading chamber – we were able to create

range where the voice sits. This led us to develop a driver with a greater vocal output level together with enhanced clarity,’ explained Celestion head of engineering, Paul Cork. a device that gave additional focus to the part of the frequency

www.celestion.com

VIO L212

3-WAY ACTIVE LINE ARRAY MODULE

MAX SPL .............................................................. 142 dB HF ..................................... 2x 1.4”, 3” v.c - Neodymium MF .................................... 4x 6.5”, 2” v.c - Neodymium LF ....................................... 2x 12”, 3” v.c - Neodymium Amplifier ...................... 2x 1600 W RMS (3200 W RMS) Frequenct Response [-6dB] .................... 55 - 18.600 Hz

info@dbtechnologies-aeb.com

Width .............................................................. 1100 mm Height ............................................................... 380 mm Depth ................................................................ 450 mm Weight ............................................................... 54.4 Kg Expansion Card............................................RDNet Card Expansion Card [optional] .......................... Dante Card

dBTechnologies

www.dbtechnologies.com

PRODUCTS

API expands its range of analogue recording consoles 1608-II

FOLLOWING ITS launch in 2008, API Audio has updated the 1608 recording and mixing console. The Control Room section of the 1608-II has been redesigned to make the surface more intuitive for smoother workﬂow, while a layout upgrade to the Auxiliary Masters together with four automatable Stereo Returns have been added. The 1608-II also integrates the Final Touch automation system, which is an optional cross-platform. Equipped with a touchscreen, Final Touch mixes can be shared

among API consoles, so that tracks recorded on a 1608-II can then be mixed on a Legacy AXS or Vision console.

SSL blends analogue processing

Bridging the gap between the 1608 and AXS consoles, the new 2448 is a smaller, compact, dual-signal path analogue recording console. Offering 24 fully featured channels for multitrack recording and 56 channels for mixing, the 2448 is available in 24-, 32- and 40-channel frame sizes. Features include dual inputs on each channel, four stereo returns, while the Final Touch fader automation system can also be added.

FUSION IS an all-analogue 2U outboard processor that features ﬁve colouration tools that combine tonal character, weight and space to mix bus or stereo stems. The ﬁrst is Vintage Drive, a non-linear harmonic enhancement circuit that is said to bring cohesion and strength to a mix. Drive and density controls interact to

±9dB attenuation. Next is a new high-frequency compressor that delivers the distinctive sound of high-frequency rounding in the analogue domain. It is a compressor that effects high frequencies only, optimised for smooth and transparent harshness reduction and a tapelike, high-frequency roll-off.

www.apiaudio.com

produce harmonic saturation and soft compression derived from overloading an analogue circuit. It can be used lightly for subtle thickening saturation or driven hard for more extreme distortion. Second is SSL Violet EQ, a minimum phase-shift, 2-band shelving EQ, designed to quickly dial in low-end weight and high-end sheen. High- and lowfrequency circuits each offer four switched frequency points and

A new stereo image enhancer reportedly provides a true analogue mid-side circuit that manipulates the side signal, allowing for widening and spatial manipulation of the stereo ﬁeld. Finally, a switched, customdesigned SSL transformer circuit introduces subtle low-frequency saturation, alongside a highfrequency phase shift.

2448

www.solidstatelogic.com

Heritage Audio extends Elite series FOLLOWING IN the footsteps of its single-channel predecessor, the HA-73 EQ mic amp/equaliser, Heritage Audio has announced the availability of its HA-73 EQX2 dual mic amp/equaliser equipped

with two mic pre/equalisers in the same rack unit. Employing three correct-vintage ‘Vinkor’ pot core inductors, the HA-73 EQX2’s preamp section features gain, output trim, –20dB

PAD, polarity reverse, a high-pass ﬁlter and a +48V phantom power. Its EQ section includes high shelving EQ, midrange EQ, low shelving EQ, a variable high-pass ﬁlter and EQ bypass. Housed in

a rugged 2U steel and aluminium chassis, the HA-73 EQX2 uses an external power supply for low-noise

7(., PAGE 1/3 PAGE 1/3

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operation. www.heritageaudio.net

PRODUCTS

Comfortable listening THE 300 Pro series from Sennheiser has been designed with comfort in mind, including new padding material, a comfort zone for the temples of glasses and split headband padding that removes any pressure from the sensitive area of the fontanelle. Detachable cables are said to offer improved protection against handling noise thanks to a small series of coils that acoustically decouple the cable from the headset. The range includes the HD 300 Pro; HD 300 Protect with selectable ActiveGard technology, said to protect the wearerâ&#x20AC;&#x2122;s ears from sudden sound bursts without interrupting the audio signal; HMD 300 Pro, a closed, circumaural communications headset with selectable ActiveGard; HMD 300-XQ-2 with a detachable cable featuring XLR-3 and Âź-inch jack connectors; and HMD 301 Pro, a single-sided headset with side support. Sennheiser has also introduced the SK 6212 mini bodypack transmitter for the Digital 6000 wireless microphone series. Measuring 63mm x 47mm x 20mm and weighing around 112g including the battery, the SK 6212 can be IR synced and includes an additional inner sealing for increased moisture resistance. The BA 62 lithiumpolymer battery has an operating time of up to 12 hours, while the ďŹ&#x201A;exible antenna is detachable and ďŹ eld-replaceable. The transmitter is also compatible with the receiver of the Digital 9000 series when in long-range mode.

audio experience; Comply ear tips that expand to ďŹ t the ear canal; and a design that makes the headphones ideally suited for listening to music after work. The Ambeo Augmented Audio Lab app allows users to record sounds in the app as loops and mix them with loop banks. Users can grab the sound loops and position them anywhere in the virtual world. Finally, version 2.0.0 of Sennheiser Control Cockpit

HMD 300 Pro

Ambeo AR One

is now available. This version supports the evolution wireless G4 microphone systems and is downwards compatible with G3. The update also offers password

protection, enhanced battery management options and a refresh of the user interface. www.sennheiser.com

Experience More.

3/4 PAGE

Listen Technologies designs and manufactures a variety of technologies that deliver an exceptional OLVWHQLQJ H[SHULHQFH LQ GLÉ?FXOW KHDULQJ HQYLURQPHQWV Č&#x192; RÎ?HULQJ KHDULQJ DXJPHQWDWLRQ VROXWLRQV WR meet any need on any budget. In partnership with NAS Solutions, Listen Technologies helps people experience more. Available Technologies: ListenTALK 6HFXUH ČľH[LEOH ZD\ PRELOH FRPPXQLFDWLRQ Listen EVERYWHERE - Easily stream audio from any source to smartphones via Wi-Fi The SK 6212 bodypack

ListenLOOP- Provides a discreet and personalized listening experience

The manufacturer has unveiled its Ambeo AR One in-ear headphones and the accompanying Ambeo Augmented Audio Lab app. The headphones enable spatial computing developers and creators to create experiences where realworld sounds blend with virtual audio. Features include transparent hearing, where developers can choose how much of the outside worldâ&#x20AC;&#x2122;s sound blends into their

ListenRF 150 - Radio frequency technology that is ideal for large or small coverage needs ListenIR Î&#x2013;QIUDUHG WHFKQRORJ\ IRU ZKHQ VHFXULW\ DQG ČľH[LELOLW\ PDWWHU

sales@nas.solutions Î&#x2013;QWHUQDWLRQDO 3KRQH 1XPEHU

Januar yâ&#x20AC;&#x201C;Februar y 2019 PRO AVL ASIA 67 Januar yâ&#x20AC;&#x201C;Februar y 2019 PRO AVL ASIA 67

PRODUCTS

Hanging out in conference rooms INTENDED PRIMARILY for video conferencing applications, Audio-Technica’s ES954 hanging microphone array can be used on its own or in a group to capture every member of a meeting. Its only limitation in terms of channel count depends on the mixer or DSP controlling the system. If used with the manufacturer’s ATDM-0604 Digital SmartMixer, the 4-capsule ES954 is capable of 360° coverage via virtual cardioid or hypercardioid outputs that can be steered horizontally and vertically tilted. The ATDM0604’s GUI also facilitates control of the virtual polar patterns in 30° increments. The ES954 connects to a mixer over a pair of standard Cat-5 cables. A pair of RJ45 breakout cables are provided to input the four channels, plus an LED tally, into the mixer. A 360° red/green LED ring indicates the array’s mute status. A 1.2m cable with locking grommet is permanently attached, enabling simple height adjustment. UniGuard RFI shielding technology is included

ES954

within the ES954 to reject radio frequency interference (RFI). Bundled with the microphone array is a Plenum-rated AT8554 ceiling mount and RJ45 connectors with push-type wire terminals for secure installation. Meanwhile, out on location, Audio-Technica has designed the BP28 (355mm long) and BP28L (568mm long) to bring ‘studio microphone-like response to distance miking applications’, such as on ﬁlm sets and in outside broadcasting. The BP28 reportedly emits 3dB of selfnoise while handling SPLs of

up to 143dB. Its L counterpart emits 8dB and can manage up to 138dB. The manufacturer is also offering four new bundles for podcasters, videographers, livestreamers and YouTubers that provide turnkey microphone/ headphone solutions. Two bundles feature USB outputs to directly connect with computers, while the other two feature XLR outputs for ﬂexibility to connect with professional mixers or digital interfaces. All bundles feature a microphone with mount, ATH-M20x professional monitor headphones and a custom boom arm with desk mount. The AT2005USBPK bundle includes an AT2005USB cardioid dynamic USB/XLR microphone; the AT2020PK bundle an AT2020 cardioid condenser microphone; the AT2020USB+PK bundle an AT2020USB+ cardioid condenser USB microphone; and the AT2035PK bundle an AT2035 cardioid condenser microphone and shock mount.

ADAM debuts studio headphones RENOWNED FOR its studio monitors, ADAM Audio has taken its ﬁrst foray into the studio headphone market with the Studio Pro SP-5. Built for pro audio monitoring and mixing applications, the SP-5 is designed to deliver balanced sound across an 8Hz to 38kHz frequency spectrum. The SP-5 integrates Ultrasone’s S-Logic technology with transducers arranged to exploit the ear’s natural form and the natural acoustics of the wearer’s pinna to direct sound into the ear canal. The intention is to deliver sound with ‘realistic spatial imaging of a quality typical of a stereo monitoring system installed and calibrated by experts’. ADAM states that it makes mixing on the SP-5 easier than on traditional headphones that point directly at the ear canal. By employing S-Logic technology, lower SPLs are required to subjectively achieve the same perceived volume. This is said to result in distortion artefact

www.audio-technica.com

Studio Pro SP-5 reduction and avoids listening fatigue. As for the manufacturer’s studio monitors, the AX series can now be customised with new skins produced in collaboration with Headliner Brands/DJ-Skins. Five designs are initially available: Grey Wood, Copper, Sunset, Leafage or Ocean. Users can also use a skin editor to create their own design. www.adam-audio.com www.ultrasone.com

Over the Edge FOLLOWING THE success of the Edge modelling microphone, Antelope Audio has launched the new Edge family. The series comprises three large-diaphragm condensers: the ﬁxed-cardioid pattern Edge Solo, the multipattern Edge Duo and the dualcapsule Edge Quadro. The new mics are intended for use with the manufacturer’s range of vintage mic emulations.

Edge Solo is designed to work with Antelope’s mic modelling plug-ins to emulate cardioidpattern microphones. It connects via a regular mono XLR cable and houses a single, large-diaphragm capsule with a ﬁxed cardioid pickup pattern. Edge Duo features a dualmembrane capsule with individual outputs that allow each signal to be independently processed

and then recombined. Users can therefore vary the polar pattern via the plug-in, even after recording, enabling Edge Duo to emulate the characteristic pickup pattern and on- and off-axis response of each mic for multidimensional modelling. Finally, Edge Quadro is a stereo/ surround mic with a pair of dual-membrane capsules and a rotating head. Four channels for

independent processing allow for stereo techniques such as M/S, X/Y, Blumlein and 3D audio. Different emulations and polar patterns can be selected for each head. The upper head can also be rotated while the microphone is actively recording, offering variations in tonality and stereo image. The Edge family

www.antelopeaudio.com

sE Electronics strives for clarity sE ELECTRONICS has released a back-electret, small-diaphragm condenser microphone intended for a wide range of studio and live applications with acoustic guitars, pianos, drums and more. The microphones feature Class-A circuitry, low-cut switches and a transformer-less output to improve clarity and a more natural sound, ‘without suffering from the ﬁzzy highs or lack of lowfrequency punch’. The sE7 and sE7 Stereo Pair have also been

DM1 Dynamite with the sE7

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reworked to offer more consistent gain and less noise. An active inline preamp intended to be inserted between a dynamic or passive ribbon microphone and a microphone preampliﬁer has also been released by the company. The DM1 Dynamite can be used to boost the signal from a passive mic for studio podcasting or on-stage use. It provides +28dB of Class-A gain and the manufacturer claims that it offers nearly half the noise, lower output impedance and more consistent gain than any other inline mic preamp on the market.

Finally, sE Electronics has also released an updated and refined version of its sE2200. The sE2300 is a multi-platform version of the condenser and features a handcrafted true condenser capsule, two attenuation pads, two low-cut filters and the same Class-A circuitry as its sibling. The sE2300 preserves the same clarity and tonality as its predecessor but adds both omnidirectional and figure-8 polar patterns to reportedly increase versatility. www.seelectronics.com

sE2300

New VHD2.18J Subwoofer Housing two 18” high performance transducers the VHD2.18J is a direct radiating bass-reflex subwoofer. The VHD2.18J’s optimised, high efficiency, bass-reflex design produces considerably more output than other similar double 18” enclosures and features intuitive integrated flyware that allows for fast rigging of multiple cabinets. Johannes Krämer works with many of the worlds leading artists, promoters and events. When he visited KV2 Audio he was looking for something special in a sub. After discussions with Chief Engineer, George Krampera the VHD2.18J was born.

www.kv2audio.com

George Krampera Chief Engineer KV2 Audio

Johannes Krämer Sound Engineer Richie Hawtin

PRODUCTS

Spherical recording THE ZM-1 from Zylia is a spherical recording solution capable of delivering 48kHz/24-bit resolution that can be connected to a laptop via USB. It includes 19 omnidirectional microphone capsules that are distributed around a sphere that measures 4 inches in circumference and weighs 16.6oz. An LED ring encircles the sphere to indicate recording status. When combined with Zylia’s Studio software, users can record their performances in both 3D/360° audio and traditional stereo. Zylia has also announced a series of software releases for

the ZM-1. The Zylia Ambisonics Converter plug-in, Zylia Studio (1.7.2) and Zylia Studio Pro (1.3.1) are said to give musicians even greater flexibility in capturing and working with 360 sound. The Zylia Ambisonics Converter modifies multichannel recordings made with the ZM-1 into HOA (Higher Order Ambisonics) full-sphere, surround sound recordings ready for playback on the Facebook 360 and YouTube 360 platforms. The converter also offers a B-format signal set that includes first-, second- and third-order ambisonics. Users can choose between the FuMa and CAN

ZM-1 component ordering formats and between ambiX and TBE output formats.

Schoeps protects against the wind SCHOEPS HAS updated its M/S and Double M/S product line with new plug-ins and windshields. Comprising three compact capsules, the Double M/S series is an extension of the M/S microphone technique for 5.1 surround, used in documentary, ambience recordings for feature ﬁlms, music recording and ENG. The three microphone signals of a Double M/S setup are M/S de-matrixed before being used. This is possible with two common M/S matrices, which are available in any typical DAW or recorder. A simpler method of decoding is available with the Schoeps Double M/S plug-in, which generates an optimal

Zylia Studio software (standard with the ZM-1) and the Zylia Studio Pro virtual studio technology

and audio plug-in have been enhanced with spatial filters for a 3E microphone model to suppor t the ZM-1 system. Zylia Studio Pro also boasts a new source localisation function that repor tedly makes it easier to find sound sources within the 360 sound scene. Zylia Studio Pro uses vir tual microphone technology (softwaredefined microphones) on the ZM-1 recording to separate sound sources and record them as individual tracks. www.zylia.co

Bluetooth conferencing

and ﬂexible 5.1 output signal from the three input signals. The plug-in is available for free in all popular formats including AAX. The Rycote Stereo Cyclone and CINELA Pianissimo open design windshields are compact, while offering effective protection against wind noise. A modern Double M/S windshield cannot be distinguished from a compact Mono windshield and is therefore suitable for use on a boom pole. The assembly of microphones in modern windshields has become more simpliﬁed and reliable, for which the Schoeps

The Rycote Stereo Cyclone CCM capsules are optionally available with a fixed pin that fits into the groove of the suspension in the Rycote Cyclone. Finally, ORTF-3D technology for 3D audio is available as an indoor setup without a windshield, while the ORTF-3D basket has been modified to provide stand mounting. www.schoeps.de

CINELA Pianissimo

BLUE POD from Williams AV has been designed to simplify conference calls by using a mobile device. Calls can be made by touching the Bluetooth connect button, without the need for additional software. The iOS and Android apps allow users to select the speakers and microphones they want to use. Blue Pod features an integrated mixer with DSP functions, including Acoustic Echo

two wireless presentation systems: Presenter Hub and Audio Presenter Hub. The ﬁrst is a video hub designed to simplify presentations and meeting room collaborations and supports both wired USB and HDMI video components (cameras, computers and media players) and wireless mobile devices using Airplay, Google Chromecast and Miracast. The digital hub also provides HDMI

Cancellation. The mixer includes two line outputs and two 25W ampliﬁers. The patent-pending design allows for integration of the Bluetooth transceiver (the Pod) into the ceiling directly over a workspace, reportedly minimising distance limitations and signal blockage. Blue Pod Air includes all the features of the Blue Pod plus wireless video display mirroring for mobile devices using Airplay, Google Chromecast and Miracast. It is also equipped with an HDMI output, supporting up to 1080p. In other news, the manufacturer has added

connectivity with 4K support and a USB media port for connection to a PC or Mac. Audio Presenter Hub adds audio to the mix and can wirelessly connect all computers, tablets and smartphones to the installed audio and video systems in the room. It features a professional mixer with Bluetooth and its integrated mixer includes four inputs, two line outputs and two 25W ampliﬁers. Acoustic Echo Cancellation has been added to reportedly ensure echo-free conference calls. www.williamsav.com

BXB provides 12-zone AV broadcasting MT-2 THE MT-2 from BXB is a 1-in/ 1-out 1U AV multimedia scheduler that supports TCP/IP control for setting and measuring schedules via Microsoft Edge/Chrome web browsers with PC or mobile devices.

Users can preset daily, weekly or speciﬁed schedules or select days when broadcasting is not required. A text-to-speech function means that the system will transform texts into vocal messages.

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The display shows the local time, weather and air quality, and receives earthquake warnings to allow users to execute emergency broadcasting to up to 12 zones. The scheduler measures 45mm x 485mm x 105mm and weighs 1.15kg. The Taiwanese manufacturer has also unveiled the HDR-731 HD recorder that provides two

HDMI outputs for multiview monitoring and PGM output and four HDMI inputs that suppor t 4-channel streaming and recording synchronously or separately. The recorder provides users with a dedicated USB 3.0 por t for instant recording of live video feeds and suppor ts mainstream modes such as RTMP, HLS, RTSP and TS. PGM

output provides various display layouts including quadview, PIP and PBP. Web user inter face management is via TCP/IP control, while PCs or mobile devices can conﬁgure the settings remotely. The recorder measures 25mm x 13mm x 4mm and weighs 1kg. www.bxb.tw

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PRODUCTS

0L[3UH DSSHDO HQKDQFHG E\ 6RXQG 'HYLFHV / $FRXVWLFV· 3 ZHOFRPHV 4 6\V FOLLOWING THE launch of the P1 processor in 2017 and its subsequent availability in early 2018, manufacturer L-Acoustics has announced a plug-in to enable interoperability with the Q-Sys Platform. The collaboration allows control and monitoring of the P1 through Q-Sys, fulﬁlling increasingly stringent and complex requirements, including PAVA (public address/voice alarm) applications. Systems designers can architect fully scalable AV environments using the Q-Sys Designer software and native user control with L-Acoustics audio systems.

‘Following the successful introduction of a Q-Sys plug-in for the LA4X and LA12X in June, accompanying the P1 release with a complementary plug-in seemed essential,’ commented L-Acoustics’ director of product management, Jeff Rocha. ‘We are fully committed to easy connectivity and system interoperability across our evolving product lines. The demand for P1, our multifunctional AVB processor and measurement platform, is particularly robust. We are therefore pleased to offer this new integration with Q-Sys.’ www.l-acoustics.com www.qsc.com

SOUND DEVICES has extended the MixPre Series including the MixPre-10T audio recorder with a new timecode and an ambisonic plug-in speciﬁcally created to assist in the recording and monitoring of VR 360 spatial audio for video. Originally designed for multitrack songs without a computer, the three Classic and three M models incorporate Kashmir mic preamps, but now also provide cue markers, remixing of recorded tracks and wireless control via Bluetooth. Designed for ﬁeld recording, live audio, sound for video, podcasts and sound FX, the Classic MixPre-3, MixPre-6 and MixPre-10T models include a timecode reader and generator plus record triggering from DSLRs. The ambisonic plug-in included in the MixPre-6 and MixPre-10T models has been created in collaboration with Sennheiser’s VR partnership programme. When paired with Sennheiser’s Ambeo VR mic, the combination offers

MixPre Series full spatial audio experience for VR video. In addition to recording and monitoring A- and B-format ambisonics, the MixPre-6 and MixPre-10T are the ﬁrst portable recorders to feature integrated ambisonics to binaural decoding. This allows VR creators to assess spatial audio content at the time of capture prior to postproduction. Support for the free ambisonic plug-in is a key feature of the MixPre version 3.00 ﬁrmware,

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which also supports full integration with four thirdparty USB fader controllers: Korg’s NanoKontrol Studio and NanoKontrol2, Novation’s LaunchControlXL and Akai’s Midimix. The new ﬁrmware also introduces wireless remote transport control and monitoring of MixPre M models from iOS or Android mobile devices via the Wingman app. www.sounddevices.com

PRODUCTS

Analogue audio connectivity ATTERO TECH has added the D2FLEXio, the first in its latest series of networked AVC solutions, to the Axon product family. The D2FLEXio provides analogue audio connectivity for installed AV systems. Each analogue audio I/O features an installer selectable switch to assign input or output audio connectivity to provide a single product solution for analogue audio conversion to and from any Dante or AES67 system. Main features include dual analogue flex I/O with slide switches for selecting the preferred I/O configuration, retrofit connectivity for legacy equipment to and from Dante/ AES67 networks, and Dante Domain Manager support. The D2FLEXio can be used for connecting power amplifiers and powered speakers, wireless mic receivers, in-ear monitor transmitters, and consumerlevel DJ equipment and electronic instruments. In addition, Attero Tech has unveiled Zip4, a 4-button IP Paging inter face aimed at addressing the communication needs of larger sporting venues, airport terminals, train

Genesys focuses on full automation

D2FLEXio stations, conventions centres and corporate facilities. IP audio can be routed over a Dante or AES67 network from Zip4 to a DSP or other Paging Management

System controller to distribute paging audio. Zip4 installs into a standard 2 Gang US wall box or rework bracket and is also available in

a 3-gang form factor (Zip4-3G) with optional accessories for desk-mounting and use with a gooseneck microphone. The faceplate is constructed of solid brushed aluminium and a front-panel RJ45 jack serves at the PTT microphone input with a panelmounted cable strain relief. Zip4 integrates directly with Q-Sys PA Router running on a QSC Core series DSP with a

dedicated Zip4 control plug-in for Q-Sys Designer. www.atterotech.com

Zip4

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GENESYS HAS created a Neve Processing Plugin for its Genesys and Genesys Black consoles providing full control of digitally controlled, analogue EQ and Dynamics hardware processing, directly from the DAW. Users can put the DAW automation features to good use for recording and playing back parameter changes to the Processing Plugin to deliver full automation of the Genesys EQ and Dynamics processing. The plug-in recognises the ﬁtted Genesys analogue processing hardware and allows control of all parameters of the Neve 1084 EQ, 88R EQ and VCA Dynamics. www.ams-neve.com

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PRODUCTS

Higher channel count from NTP NTP TECHNOLOGY has begun shipping its AD/DA/DD converter and audio routing devices that come with support for 64 channels of Dante IP audio. But, in an effort to meet demand for an even higher channel count, the manufacturer has introduced an optional expansion card that adds another 128 channels to the matrix. With eight slots available for expansion cards, users could potentially have up to 1,088 Dante/AES67 channels at 48kHz. The Dante expansion card also offers sample rate conversion on all

channels as well as dual redundancy network ports. These are said to maximise reliability and reduce the risk of losing valuable production time. According to the manufacturer, this unleashes a ‘wealth of possibilities’ for distributing audio across sources and destinations on complex setups, for example sending a feed to an OB truck while recording at a different sample rate and sending another feed to an FOH console or an IEM system. ‘Simply adding more Dante channels may sound trivial but,

once you start to think about the actual problems that this amount of channels in combination with independent sample rate conversion is capable of solving, it’s a signiﬁcant improvement of the overall

system,’ said Mikael Vest, sales director at NTP Technology. ‘For instance, the new Dante card will immediately be able to

solve real-world challenges in regard to high channel counts when working with Dolby Atmos Mastering Suite, as well as in recording studios where Dantebased monitoring systems are used, but there is a need to record at a different sample rate, or in live applications where the Dante networks have to be kept physically separated when operating on different clocks.’ www.ntp.dk

High alert STUDIO TECHNOLOGIES is strengthening its intercom offerings with the Model 391 Dante Alerting Unit that offers both visual and audible indications that operator attention is being requested. The unit can be used in conjunction with Dante audio over Ethernetbased intercom beltpacks and user stations that support call light functionality. Housed in a compact enclosure, the tabletop PoE unit is said to offer extensive conﬁguration choices to optimise alerting performance, and is described as ideal for a wide range of theatre, corporate, industrial and broadcast applications where party-line (PL) and 4-wire intercom is required. The manufacturer has also added to its line of Dantecompliant products with the Model 374A Intercom Beltpack, an update of the original Model 374. The beltpack continues to offer four channels of PL intercom and includes additional capabilities and a personal computer-based method of conﬁguring the units. A standard Ethernet connection

provides both PoE power and high-performance digital audio transport. Over a LAN, multiple units can be configured for PL intercom applications via an external Dante-enabled audio matrix. The beltpack’s features can be configured using the STcontroller software application. Configurable parameters include electret microphone powering, microphone preamp gain, talk button operation, headphone channel assignment and integrated sidetone level. Finally, Studio Technologies has released enhanced firmware for its Model 5422 Dante Intercom

Audio Engine, Model 216 Announcer’s Console and Model 44D Audio Interface products. The new firmware allows each unit to better meet the needs of creating IFB (interrupted foldback or talent cueing) for remote production applications. The Model 5422 Dante Intercom Audio Engine is a high-performance and flexible solution for creating PL intercom circuits when used with Dante and AES67-compatible products. With the latest firmware release, it is now also capable of creating up to 32 unique IFB signals or feeds, or a mixture of PL intercom and IFB circuits.

The Model 216 Announcer’s Console was designed to serve as the audio control centre for announcers, commentators and production personnel. With the update, the unit can now serve as a 4-channel IFB master station for remote production applications. Two Model 216 production modes, production with tone and production with dim and tone, are included to support the Model 5422’s TOX IFB function. The Model 44D Interface was originally offered to provide a simple yet high-performance means of interfacing two channels of analogue line level

audio to and from applications that rely on Dante or AES67 technology. New ﬁrmware for the Model 44D adds a tone generator mode for use in REMI or At-Home applications that use the Model 5422 Dante Intercom Audio Engine. When conﬁgured for the tone generator mode, an 18kHz sine-wave audio signal is available in both the analogue and digital domains. This tone is intended to be used by matrix intercom systems to assist in creating interrupt audio signals that are compatible with the Model 5422’s TOX IFB function. www.studio-tech.com

CEDAR updates Cambridge CEDAR AUDIO has announced the immediate availability of CEDAR Cambridge v12. Cambridge is used for audio restoration, noise reduction and speech enhancement in audio forensics, sound libraries and archives, as well as for premastering. Cambridge v12 features a silent hardware option,

an upgrade to the existing Series IV hardware, a new processing module, a more productive process management environment and clearer graphics. The upgrade also dispenses with the 1U rackmount Timecode Automation Controller, which is no longer necessary for timecode and automation duties.

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This reportedly simpliﬁes set up and reduces the amount of space needed for the system. When upgrading to Cambridge v12, Declickle 3 is provided as a free upgrade to owners of Declickle 2. The manufacturer has also introduced a new CEDAR Cambridge host to complement the latest version of its Cambridge Series IV server systems. Cambridge Silent 1 is described as smaller, much lighter and more convenient than the

Cambridge Silent 1 previous system and contains no moving parts, so it can be placed in the quietest of studios without creating a distraction. Silent 1 is optimised for single

users, but equally suited for larger establishments per forming batch processing. www.cedaraudio.com

PRODUCTS

RTW eliminates auditory stress DEVELOPED IN partnership with the Fraunhofer Institute for Digital Media Technology in Oldenburg and funded by the German

Federal Ministry for Economic Affairs and Energy, RTW has unveiled its speech intelligibility technology that addresses the

problem of understanding verbal material in shows and movies by providing real-time analysis of speech intelligibility. Speciﬁc complaints include that an actor does not articulate or that there is too much background noise. ‘RTW’s speech measurement technology aims to eliminate much of this auditory stress before it even makes it to the ears of the viewer,’ explained Andreas Tweitmann, CEO of RTW. ‘We are incredibly proud to once again be at the forefront of research and development that will change the landscape of audio production.’ www.rtw.com

Commenting using Dante SONIFEX HAS added two Dante audio over IP (AoIP) commentator units: the AVN-CU2 and AVN-CU4. The AVN-CU2 provides two mic/ line inputs with a wide, adjustable gain range and has two stereo headphone outputs with lockable jack sockets, suitable for operation by two commentators. The unit is powered using PoE and Neutrik EtherCON connectors, with primary and secondary ports for power and data redundancy. There’s an additional 4-pin XLR 12V DC input. The unit supports up to 16 input and output AoIP channels and up to 16 simultaneous input and output AoIP streams. The six push-button rotary encoders and 12 key-cap buttons are fully conﬁgurable, to control input and output levels and panning. Each rotary encoder has a separate colour-coded meter section showing the channel name, detailed level metering, left/right panning and a limiter indication. Colours can be programmed per encoder to

identify particular source groups. Metering is available per input/ output, with output metering conﬁgurable as pre- or post-level adjustment. The top of the display shows output metering, a limiter

AVN-CU2 indication and the name of the output, a pre-deﬁned logo or nothing. A limiter is available on every output. The unit has two locking mic/ line inputs with +48V phantom

power indication and two headphone outputs on locking 6.35mm jack sockets. Four wire I/Os on rear-panel RJ45 connectors provide an AES3 or analogue input and output that can be assigned as mic outputs (line level), talkback outputs, programme inputs or talkback inputs as desired. In addition, the AES/ analogue connections can be used as an insert or exit point into/out from the AoIP network. The unit has dual redundant network ports on both RJ45 (PoE using two Neutrik EtherCON connectors) and SFP cages. There are 10 conﬁgurable GPIOs on a 15-way, D-type connector with one switched changeover output. The AVN-CU4 is a dual version of the AVN-CU2 and provides four mic/line outputs and four stereo headphone outputs, and is suitable for operation by three or four commentators. www.sonifex.co.uk

DirectOut goes modular DIRECTOUT HAS released the first member of a new broadcast product family. Prodigy.MC is a modular converter and audio router that supports multiple formats with a variety of I/Os and networked audio and control capability in a compact 2U package. Designed to provide flexibility and versatility, the converter offers a combination of unified remote control via globcon and a user-friendly touchscreen on the front panel. Third-party remote control protocols can be added

to increase system integration. Prodigy.MC provides I/O based on eight channel modules. Line level, microphone and AES3 (including SRC) interfaces can be combined up to a total of 64 inputs and outputs. The hardware supports MADI and a network audio option, while the two MADI slots can be equipped with BNC, SC optical and SFP modules, and an optional board adds Dante, Ravenna (AES67) or SoundGrid connectivity. www.directout.eu

Audio Limited extends A10 appeal FOLLOWING THE 2017 launch of the A10 wireless system, Audio Limited has added the A10Rack, a Dante-enabled wireless receiver enclosure for power and antenna distribution of up to four dual-channel receivers. The 1U enclosure has been designed for Unislot- and Superslot-compatible receivers, such as Audio Limited’s A10-RX in addition to Wisycom and Lectrosonics models. The eight channels can be output as analogue and AES digital audio via XLR-M connectors simultaneously with the eight channels over the Dante Ethernet interface. The rack has been designed for cart-based workﬂows and productions that require full Dante audio network integration, while the RF pass-through

The A10-Rack capability enables cascading of two A10-Racks for a total of 16 channels. www.audioltd.com

VX meets AES67 THE TELOS Alliance has launched a pair of new VX multi-line voice over IP (VoIP) systems: VX Enterprise and Prime+. ‘Telos VX was the world’s ﬁrst VoIP talkshow system,’ explained Marty Sacks of the Telos Alliance. ‘Enterprise and Prime+ are the next evolution, adding AES67.’

Telos VX Enterprise is designed for VoIP phone systems in mediumto-large facilities with a capacity expandable up to 120 connected hybrids. Meanwhile, Telos VX Prime+ is an eight-hybrid solution for small-to-medium sites. These new solutions enable VX to be integrated into any AES67 environment as well

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Telos VX Enterprise as Axia’s Livewire network. Plug-and-play connectivity allows broadcasters to network multiple audio channels with any AES67-compliant hardware, while Livewire users have the added beneﬁts of networking control (GPIO) and associated advertising

and programme data across the network. Built on a 1U server, both models feature ﬁfth-generation Telos Adaptive Hybrid technology, including Digital Dynamic EQ, AGC, adjustable caller ducking and send- and receive-audio dynamics

processing by Omnia. Additionally, Fraunhofer wideband acoustic echo cancellation eliminates openspeaker feedback. Added support for the G.722 codec facilitates high-ﬁdelity phone calls from iPhone and Android SIP phones via an SIP server. www.telosalliance.com

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PRODUCTS

Lawo adds to A__Line series LAWO HAS premiered WAN versions of its A__Line series of networked audio to IP interfaces. The 1U devices stream uncompressed broadcastquality audio to Layer 3 networks in real-time via both WAN and LAN connections. The units are optimised for high-trafﬁc, highdemand audio transport. Dual RJ45 ports utilise SMPTE 2022-7 Seamless Protection Switching (SPS) to provide two redundant network connection paths for errorfree stream delivery, while dualredundant power is also available. A__line units can synchronise to and convert between PTPv2 and word-clock reference signals. Switching to the V__matrix eco-system, the vm_udx Virtual Module provides format conversion

WAN edition of A__Line networked audio to IP interfaces between SD, HD and 4K formats along with audio embedding/ de-embedding, frame sync, proc amp and RGB colour correction functionality. The vm_udx provides four independent paths: conversion between SD and HD

formats uses one path, while conversion to/from 4K uses four paths. vm_udx natively supports both ST2022-6 and ST2110-20 IP video as well as ST2110-30/-31/ AES67 and Ravenna IP audio streams.

For broadcasters who want to connect Dante networks to their Ravenna AES67 studio networks, a Dante card can now be added into a Power Core mixing/processing engine, allowing devices in the Dante network to become available as an audio resource within the Ravenna network. Designed for the Ruby radio console, Power Core is equipped with a trifecta of high-signal density, DSP power and redundant NICs with SMPTE 2022-7 SPS in a 1U chassis. Power Core’s multiple front-panel MADI and AES67 interfaces give access to 384 channels of stereo audio

can be located anywhere on the network. Its ultra-high processing density with >1,000mc2 fully featured DSP channels can either be used by a single mc2 console or be shared among up to four consoles. Due to a flexible licensing model, the UHD Core is ideal for both mobile applications and facility use. Eight independent 10/1GbE network interfaces with SFPs enable the use of redundant networks via ST2022-7 SPS. For fine-tuning workflow, vsmWebPanel is a touch-optimised HTML5-integrated addition to the Lawo VSM (Virtual Studio

Worth making a Song and Dance Over vm_udx

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When Academy Aw A ard winning film composer Justin Hurwitz went looking for a new interface that exuded both quality and class in its construction and sound quality he looked no further than the Prism Sound Lyr L a. The crystal-clear transparency of even the smallest details in the mix made it the perfect choice.

as standard. Eight plug-in slots accommodate further I/Os via mic, line, AES3, HD MADI and Dante expansion cards. When paired with a Lawo Ruby mixing console, Power Core can provide as many as 96 DSP channels for precision audio shaping, with up to 80 summing busses, multiple AutoMix groups and comprehensive compression/ expansion/de-essing tools. A further new addition is UHD Core, a network-based, softwaredeﬁned audio DSP engine that

Manager) system. Users can tailor customised VSM control panels to their production needs, then deploy them on mobile devices such as tablets, laptops and mobile phones. vsmGadgetServer, meanwhile, is another VSM module that is HTML5-enabled so that users can gain conﬁguration and control capabilities for a broad range of connections from any host or mobile device. www.lawo.com

Digigram expands IQOYA X/Link

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DESIGNED FOR the delivery of an FM MPX composite signal to one or several transmitter sites, IQOYA X/Link-MPX is a 1U rack IP codec that forms part of Digigram’s IQOYA X/ Link range. The codec includes a set of features that reportedly enable the reliable transport of the MPX signal over managed and unmanaged networks and for continuity of audio service on transmitter sites. It allows

users to monitor the audio included in the MPX signal but to also send back a baseband audio IP stream to the studio simultaneously, while decoding the MPX IP stream. The codec is based on a low-consumption and fan-less hardware platform that runs the manufacturer’s Fluid IP streaming technology. www.digigram.com

PRODUCTS

IP control for the CD-400U TASCAM HAS released the IF-E100 Ethernet control card to enable remote conﬁguration and control over an IP network from the manufacturer’s CD-400U media player. This new optional card slots into the CD-400U expansion port and offers control via the free, downloadable CD-400U Network Settings application for Mac and Windows.

The CD-400U comes with remote control as standard via RS-232C. However, the addition of the optional IF-E100 Ethernet control card is intended to make the player better suited to IP network-based installations in commercial settings, such as schools, restaurants and hotels. www.tascam.com

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Maciek Janiszewski with BroaMan’s Mux22 FrameSync8 unit

FOR EVAC SYSTEMS CERTIFIED ACCORDING TO EN 54-24 (B)

BroaMan extends Mux22 family DESIGNED AS an upgrade to traditional frame sync technologies, the arrival of the Mux22 FrameSync8 extends BroaMan’s Mux22 series of devices. Incorporating advanced timing and transport techniques, the FrameSync option ensures zero-delay frame syncs and auto-adjustment of its embedded audio. The development solves lip sync issues on screen and delays for actors and conductors in live situations. Housed in a 1U chassis, the Mux22 universal interface supports all broadcast industry signals. By combining HD/3G/6G/12G-SDI I/O with Ethernet, Optocore and SANE digital audio networks, Mux22 efﬁciently transports AV and data on a duplex ﬁbre. Each standard Mux22 can now contain a FrameSync board allowing Video Frame Sync of eight video inputs such as cameras. The FrameSync option is based on the FrameSync8 board, providing eight sync outputs in addition to the two standard Video Sync Board (VSync) I/O options. The traditional VSync I/O is independent from the new FrameSync8 board. This allows the VSync to continue performing the black burst-to-audio clock

synchronisation, while the FrameSync8 outputs can produce independent phase-shifted video syncs of any style and numerous resolutions in SD and HD versions. Additionally, each of the eight sync outputs in FrameSync8 can be individually set to either Video Sync or Audio Word Clock Sync, making the unit a video or audio sync distribution device. The phase shift and format of Video Sync are matched to all eight outputs with a guarantee that there will be no mismatch in timing. In related news, BroaMan has announced that Optocore technology is now available between a pair of Mux22 devices. Previously, Optocore would enable switching between Route66 Video Router and Mux22 nodes using a smart mechanism to detect when one of the ﬁbre links between the nodes is broken. As a result, Mux22 now features full automatic redundancy so that if one of the links fails, the system will automatically switch to the redundant path, enabling all video, audio and data channels to remain working. www.broaman.com

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PRODUCTS

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Merging Technologies’ Hapi interface MERGING TECHNOLOGIES has unveiled a raft of updates to its recording systems. First off is Pyramix 11.1, a toolset for objectbased audio production that can generate ﬁles for MPEG-H or ADM (Audio Deﬁnition Model). Support for VST3 plug-ins has been added with routing now available on the plug-in UI along with an increase in output bus counts for the Native versions.

These advantages repor tedly transfer to the Ovation audio and event sequencer which is now release 7.1. Console automation has moved from snapshot to fully dynamic and the manufacturer has also improved the cue feedback. There is also enhanced integration with popular controllers from Avid and SSL, and UDP/IP has been added to the IP control options.

Next up is Aneman Enterprise, described as an optimum method of controlling networks in larger facilities with scope for customisation to suit the company or the client. Enterprise allows multiple users to access the system at the same time, offers enhanced diagnostics, logging and can assign access rights to individual zones. Finally, the Horus and Hapi networked audio interfaces have been given a new D/A card that features the latest generation component from ESS. The range of VAD (Virtual Audio Device) drivers has been updated to be compatible with the latest operating systems from Apple and Microsoft, making sure that the converters work with all DAWs regardless of OS. www.merging.com

7KH 1H[W WRRO IRU FRQÀJXULQJ NEXT-PROAUDIO HAS launched a free tool to help end-users configure their speaker and amplifier systems. The Audio Tool Software includes a database with all the passive speakers from the Portuguese manufacturer’s range as well as the available digital and analogue amplifiers – M Series, MA Series and Powersoft X Series. The manufacturer promises that with Audio Tool, the user can automatically get the best combination between speakers and amplifiers in order to get the best per formance from both devices. The database includes important parameters, from each speaker and amplifier model, that grant the software the ability to calculate the optimum configuration. The user inputs which speaker model and how many units per amplifier channel and the software sets the recommended

ampliﬁer according to the selected ampliﬁer mode and technology (stereo/bridge and analogue/digital). Furthermore, the tool is also capable of automatically calculating the proper limiter settings such as threshold, attack and release times regarding the whole system settings.

There is also a manual mode that allows the user to select which models of speaker and ampliﬁer they are using and see the system’s per formance through two colour gauges. The software is available from the Next-proaudio website. www.next-proaudio.com

InSite diagnostic screen

&OHDU &RP HQKDQFHV $R,3 FDSDELOLWLHV WITH THE creation of the software toolset InSite, fixed installations using the Clear-Com FreeSpeak II wireless intercom can now benefit from remote optimisation and monitoring. InSite provides both Eclipse-HX and FSII Basestation operators with a GUI to monitor, control and record FreeSpeak II beltpack and transceiver activity. Fully integrated into the new EHX v10 application and CCM for the base-station, InSite features a dynamic grid layout that shows beltpack-to-transceiver handovers together with a real-time display of beltpack telemetry information, including battery level, signal strength and connection health. Additionally, the system charts both handovers and beltpack telemetry data in real-time. An update to the V-Series Panel now provides uncompressed AES67 audio to the Eclipse HX E-IPA card, promoting AoIP capability and new colour displays. Capable of monitoring and sending communications over three concurrent AES67 uncompressed audio IP streams, the V-Series Iris Panel also enables systems to deliver uncompressed AES67 audio from user to user with significantly reduced latency. A maximum of 64 Iris Panels per card can be deployed when connected to the high-density, AES67compliant E-IPA card. The Iris

Panel integrates a fully colour configurable OLED to display the user label and port information in dimly lit areas or full daylight. Having optimised the Iris Panel for the new Eclipse HX software running over AES67, it also retains IVC and 4-wire connections for backward compatibility with Eclipse frames running EHX v10 or earlier. Sister company Trilogy has announced shipment of its Mentor CX changeover unit. Designed to automatically switch video and audio test signals when used with main and backup Mentor RG Signal Pulse Generators, the Mentor family operates in digital or mixed format environments where a digital SPG is required. Mentor CX now offers a manual or automatic changeover between a pair of Mentor RG generators to maximise security for on-air applications. Designed to ensure timing and synchronisation of audio, video and timecode are hot redundant in professional media applications, Mentor CX can monitor up to 22 digital and analogue channels from both RG units. Any signal disruption facilitates a changeover to the secondary Mentor RG, while the Vector web management system provides simplified configuration and management of changeover conditions. www.clearcom.com

1HZ IRUP RI L' AUDIENT HAS released new iD Mixer software across its range of iD audio interfaces. This provides iD14 and iD22 users with beta access to the redesigned and mixfocused software already available for the iD44. The latest version of iD Mixer has been designed with features such as a tab-based layout for easier

navigation and allows users to set up complex routing and headphone mixes. The option to save and store presets is also presented. ‘Owners of Audient iD interfaces that use iD Mixer can now take advantage of Smart Talkback, letting them use any audio source connected to their computer as a talkback mic, freeing up valuable

80 PRO AVL ASIA Januar y–Februar y 2019 80 PRO AVL ASIA Januar y–Februar y 2019

mic preamps for recording,’ detailed Andy Allen, Audient marketing manager. In addition, an update for Windows drivers across the range also provides enhancements, enabling reduced buffer sizes and operation at a lower latency. www.audient.com

PRODUCTS

<DPDKD UHÀQHV LWV 003 V\VWHP YAMAHA HAS updated its MMP1 studio monitor management system to support production workflows in one compact, rackmountable unit. The new firmware for the Yamaha MMP1 studio monitor management adds a series of refinements, including support for CB Electronics’ TMC-1 monitor controller. The signal processor incorporates advanced monitor

control and a range of audio processing functions. In addition to a 40x36 monitor matrix – which allows flexible configuration of main monitor, cue and other audio I/O – the MMP1 includes a 32x32 speaker management matrix with time alignment functionality and FIR crossover filters. The unit also offers the flexibility for managing formats from stereo to immersive, multichannel audio.

With the new ﬁrmware, the TMC-1 can be used to remotely control MMP1 monitor source selection, speaker system selection, levels, mute and dim. Used in conjunction with the MMP1 Controller app for iPad, it will provide access to more detailed settings. Other Version 1.1 reﬁnements to the MMP1 studio monitor include pop-up EQ graphs and meters that can be rearranged in

the editor window, expanded lip sync delay time (up to 300ms), SPL parameter lock to prevent accidental changes and expanded GPI assignments. The MMP1

Version 1.1 is available as a free download from the Yamaha website. www.yamahaproaudio.com

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‘STUDER MICRO Series V2.0 software streamlines and improves mixing workﬂows,’ explained Mark Hosking, director of broadcast sales at Harman when discussing the latest update to Studer’s digital audio mixing system solution broadcast. The V2.0 software adds features such as ducking, user access privileges and assignable effects, as well as 19 major improvements and bug ﬁxes including the VoiceMix auto mixing

STAGE TEC has released software version 4.7 for its Aurus platinum mixing console. New features include parallel compression, also referred to as New York compression. Parallel compression has been added as an additional operating mode for Aurus platinum’s existing compressor. It is used mainly in recording and postproduction applications. Stage Tec has also announced that it will make parallel compression available for

Studer’s Micro Series functionality. Additionally, the 2.0 update provides the Micro Series with frequency compliance for the Japanese market. The Studer Micro Series consists of a core unit, graphical user

interface and optional fader control surface. Its V2.0 update is available as a free download for all registered Studer Micro users. www.studer.ch

its Crescendo platinum desk in a future update. In addition, 3D audio can be now be mixed with four overhead speakers using Aurus platinum as part of the 4.7 software release. The ability is also provided to create temporary link groups that allow channels to be linked quicker via the control surface. This function is also available on the Aurus console. www.stagetec.com

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PRODUCTS

:KDW·V QHZ ZLWK 64" THE V1.3 firmware update for Allen & Heath’s SQ Series adds a range of features, including a Listen bus for patching the PAFL bus to an IEM system, stereo nearfield monitors or a mono listen wedge with the option to control the listen level with the master fader. The firmware also dovetails with the SQ SLink option card, offering more options for FOH/monitor splits and remote I/O, or combinations of these with an ME personal monitoring system. The update also simplifies

communication between FOH and monitors with the addition of an external input to PAFL. Digital splits are further facilitated by new tie lines, connecting input and output sockets without depleting the SQ’s processing power. Other V1.3 additions include user permissions, user interface enhancements, FX control and MIDI messaging, as well as instant value feedback for the soft rotary controls on the SQ-6 and SQ-7. The SQ MixPad app also beneﬁts from the inclusion of FX and DEEP

The SQ Series receives a ﬁrmware update unit control, a patching matrix and integration with the signal generator. Also new with SQ is a Waves SoundGrid network card. This provides SQ mixers with a 64x64 96kHz or 48kHz interface to a

Waves SoundGrid network using its I/O port. The manufacturer has also announced that a range of DEEP processing plug-ins is now available as optional add-ons for its SQ Series. The options allow

SQ users to choose from a suite of plug-ins ported directly from the dLive mixing system. A preamp and compressor plug-in can be used on each of the 48 input channels, while a GEQ compressor can be applied to each of the 16 mixes. Unlike third-party plug-ins that require additional hardware, the DEEP plug-ins are built into the console architecture and reportedly add no additional latency to the system. www.allen-heath.com

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$GGHG ÁH[[ LELOLW\ ADDRESSING THE broad chipset and device testing needs for LTE-A/Pro and 5G, Rohde & Schwarz has created the CMWflexx, reportedly the first test platform to offer aggregation for up to eight carriers combined with 8x4 MIMO for protocol, RF and data performance. The R&S CMWflexx has been designed to build upon the CMW500 family of radio communication testers. The CMWflexx supports mobile device testing for 3GPP releases

SpycerNode 8–15. It also supports carrier aggregation (8CC), higher MIMO orders (4x4, 8x4), complex modulation (256QAM) and unlicensed spectrum (LAA) testing, among others. The unit typically comprises two, three or four R&S CMW500 systems and

a CMW controller (CMWC). This facilitates the testing of MIMO/ carrier aggregation configurations of up to 32 individual streams. ‘Not only does the R&S CMWflexx allow customers to take advantage of hardware they may already own, but it also helps future-proof their investment with a clear strategy in place to support 3GPP release 15 LTE features and an upgrade path to 5G NR NSA,’ commented Anton Messmer, VP of mobile radio testers at Rohde & Schwarz. Rohde & Schwarz has also unveiled a new storage solution. The R&S SpycerNode is described by the manufacturer as ‘the first storage product on the M&E market to feature high-performance computing (HPC)’. The system features IBM Spectrum Scale and has been built to meet the scalability and workflow integration requirements of today’s media environments. www.rohde-schwarz.com

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PROVIDING MORE control over audio and speeding up workflows, the RX 7 is the latest version of iZotope’s industry standard for audio repair. New features of the RX 7 include the Repair Assistant that helps users to automatically analyse audio automatically, while helping experienced engineers fix problems faster. Music Rebalance adjusts the balance of vocals, bass, percussion and other instruments within a mix, while Variable Time and Variable Pitch modules allow duration and pitch to be altered independently. RX 7 users can edit one channel, multiple channels or all channels of a mix with support for channel configurations up to 7.1.2. Dialogue Contour can create a new performance entirely or improve a performance of a line by combining multiple clips,

allowing adjustments of intonation independently. Designed to speed up workﬂows, Music Rebalance, Breath Control, Dialogue Isolate and Derustle are available as audio suite plug-ins. Created as a visual intelligence for mixing and mastering, Insight 2 now includes a new user interface,

introducing new meters that are resizable for ease of use. When combined with Intelligibility Meter and iZotope Replay, the manufacturer claims that the dialogue cannot get lost in a 7.1.2 mix presentation. www.izotope.com

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NEW 3.1 software for KLANG:technologies’ Kos 3 operating system has been released by the German 3D in-ear mixing system manufacturer. One of the most signiﬁcant beneﬁts of the latest OS version is said to be the inclusion of a ‘powerful’ new MIDI translator tool. This provides MCU (Mackie Control Universal) protocol integration, allowing engineers to connect one

or more MIDI MCU-compatible fader controllers to the KLANG:app for touch-based mix control. This enables monitor engineers to dial into musicians’ mixes from a hardware-based controller. The new integration provides facilities for mute and solo buttons, channel labels, bank select and snapshot control, and bidirectional fader control.

Furthermore, Kos 3.1 introduces the daisy-chaining of KLANG:fabrik and/or KLANG:vier devices into a hive of units functioning as a larger and more powerful system. In this conﬁguration, engineers can move between various artists’ mixes within the cascade via the top mix bar, as well as create, save and recall snapshots and presets on all units in the setup simultaneously. Finally, with Kos 3.1’s new master cue facilities, monitor engineers don’t need to sacriﬁce one mix for cueing into an artist’s mix, but can cue into the mixes of any unit in the cascade. This is accomplished by daisy-chaining a cue output of a mixing console to the KLANG cascade and then choosing to listen to the KLANG cue or console cue. www.klang.com

Axle-KRX402 medium-format, high pressure powered stereo system | k-array.com

The Axle-KR402 is an aggressive, medium format portable system [OH[ WYVK\JLZ OPNO WYLZZ\YL PU [OL ULHY Ã&#x201E;LSK HUK HU L_[LUKLK IHZZ response, perfect for touring, DJ sets, multi-purpose lounges and clubs.

PRODUCTS

No compromise AVoIP EXTRON HAS introduced its NAV Series, a ‘no-compromise’ pro AV over IP platform that distributes and switches ultra-low-latency video, audio and USB 2.0 signals over Ethernet networks. It uses the company’s patented Pure3 codec and delivers visually lossless video over IP at resolutions up to 4K at 60Hz with 4:4:4 chroma sampling. Pure3’s

IP-based video and audio matrix, combining the ﬂexibility of an IPbased system with the integrationfriendly video and audio switching features found in conventional Extron matrix switchers. In other news, the manufacturer has announced the availability of its TLS 1025M 10-inch panel for Extron Room Scheduling systems. According to the manufacturer,

allows it to receive power and communication over a single Ethernet cable. Two bright red and green LEDs make it easy to see if a room is occupied or available even from down the hall. Extron has also released its TLP Pro 725C, a 7-inch Series/2 Cable Cubby TouchLink Pro Touchpanel with a ﬂip-up touchscreen built into an all-metal

TLP Pro 725C

The IN1804 Series Intelligent Selective Streaming (ISS) leverages low motion content to achieve extremely low bitrates. The NAV Series is reportedly the only streaming solution that offers both 1Gbps and 10Gbps encoders and decoders with compatibility across both systems. NAV can also deploy as a high-performance,

the panel connects directly to a variety of popular calendar services and reportedly requires no additional scheduling software or external processors. It features a 1280x800 capacitive edge-toedge Gorilla Glass touchscreen that is said to be scratch- and smudge-resistant. The TLS 1025M also features PoE, which

cable access enclosure. Because it’s built into a Cable Cubby access enclosure, the TLP Pro 725C offers access to AC or USB power, data and a broad variety of AV connections. A simple, integrated clamp system is said to quickly secure the enclosure to a furniture surface without the need for additional parts or tools.

The panel provides a 1024x600 capacitive touchscreen built with scratch- and smudge-resistant Corning Gorilla Glass. Finally, a series of 4-input scalers has been unveiled by the manufacturer. The IN1804 Series supports HDMI 2.0 data rates up to 18Gbps and incorporates Extron’s Vector 4K scaling engine with 4:4:4 chroma sampling and 30-bit internal video processing. Other features include seamless switching effects, logo keying, still image recall and optional twisted

pair capability. Two models are available: the IN1804 DI includes a DTP2 twisted pair input that can receive signals from remote DTP and DTP2 transmitters mounted at a conference table, while the IN1804 DO has a DTP2 twisted pair output that can send signals to a DTP or DTP2 receiver mounted behind a ﬂat panel display, above a ceiling-mounted projector or in other remote locations. www.extron.com

EX-70-G2 extended to 4K WYRESTORM’S ENTRY-LEVEL HDBaseT extender, the EX-70-G2, has been upgraded with 4K UHD and RS-232 control capabilities. In addition to being 4K-ready, the version two EX-70-G2 is HDCP 2.2-compliant for pointto-point UHD HDMI extension. The unit’s Class-B HDBaseT capabilities ensure the delivery of 3840x2160p at 30Hz 8-bit 4:4:4 or both 3840x2160p and 4096x2160p at 60Hz 8-bit 4:2:0

to 35m or 1080p 60Hz 48-bit to 70m. Multichannel audio is supported for formats up to Dolby Atmos and DTS-X. In terms of control, the new EX-70-G2 model includes bidirectional RS-232 in addition to its previously supported bidirectional IR functionality, enabling a source or display to be controlled from either end of the signal chain and for CEC (Consumer Electronics Control)

remote control pass-through facilitating one-touch on/off commands. Connection to thirdparty IR/control products is also

allowed when users connect a WyreStorm IR link cable. The system also features auto EDID management.

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Two-way PoH power enables power supply-free installations and allows transmitters and receivers to be remotely powered from either location. This aims to simplify installation and reduce potential points of failure in a system. The new EX-70-G2 is delivered in the form of a 15mm chassis that allows it to be installed behind ﬂush-mounted screens. www.wyrestorm.com

PRODUCTS

7DVNHU FDWHUV IRU &DW In the fire protection category, meanwhile, the TSK303 Evac has a 2x2.5mm2 section, a high-resistant sheath that is fire resistant for up to two hours and an EN50200 rating. Finally, the C729 Cat-6 S/UTP cable has the ability to maintain signal transmission for two hours in a direct flame and up to temperatures of 850°C.

to 100m away. The cable includes a 0.8mm stranded conductor and double-braid shielding. The C128 PUR, meanwhile, is a balanced 2x0.35mm2 cable shielded with a ﬂame-retardant sheath and is resistant to trampling, abrasion, water and UV rays. In the video surveillance category, the C149 comes with an LSZH (low smoke zero halogen) sheath and can be used as a power line from a camera.

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data cable has been tested and certified and is now available in the CPR classifications Dca s1 d2 a1 (item no. 580-0255FC) and Cca s1 d1 a1 (item no. 580-0275FC). According to the manufacturer, the cable’s benefits are a short lay length, a long-life FRNC jacket and high-quality insulation, and it is described as an ideal choice for use as a permanent link between computers and media equipment.

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SINCE JULY 2017, every material use for building installations has been governed by the European Construction Products Regulation (CPR) 305/2011 pursuant to EN 50575. As a result, Sommer Cable is constantly striving to certify its cables to the highest possible ﬁre protection standards. The SC-Mercator Cat.7

Whatever you’re looking to achieve from a digital marketing campaign, Pro AVL Digital has all the pieces you need, with a range of platforms and solutions to suit all budgets.

FOR INSTALLATIONS where Cat-6A is not enough, Tasker has unveiled its C726 PUR cable that provides the same physical and mechanical characteristics of its Cat-6A C728 PUR cable but with a soft PVC sheath. The C728 PUR is a doublesheathed cable for outdoor mobile laying and is resistant to water, oil and atmospheric agents. Further PUR additions from the Italian manufacturer include the coaxial HDSDI T42 PUR for use up

GET STARTED NOW Contact Sue Gould: sgould@proavl-asia.com

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PRODUCTS

Apogee is Jam+ing JAM+ FROM Apogee is a portable, studio-grade USB instrument input and output that has been designed to connect electric guitar, bass, keyboard or any acoustic instrument with a pickup, directly to an iOS device, Mac or Windows PC. Users can also connect a dynamic microphone with a separate adapter. Jam+ continues the evolution of the Jam series that was rolled out in 2010 by bringing the latest advances in Apogee’s design and engineering to an all-new metal chassis with enhanced PureDigital circuitry. The stereo output connects

to headphones or powered speakers, while the overdrive mode reportedly makes

Up in the AIR amplifiers and effects pedals sound more realistic. The blend mode is said to minimise delay in headphones while recording, and there is no configuration, just plug in and play. Jam+ offers 24-bit/96kHz highresolution audio and includes lightning, USB and USB-C cables. It also comes with the BIAS FX Jam software bundle from Positive Grid which includes a premium selection of three amplifiers and six essential pedal effects. www.apogeedigital.com

FOR LYNX Technik, AIR means All Independent Remote. The manufacturer’s new AIR Processing platform is a cloudbased solution designed to

remove signal processing from hardware setups, freeing up bandwidth and processing power. Lynx Technik introduced its software-based approach to signal processing in 2016 with the launch of greenMachine. AIR Processing is described as the ‘next step in treating

video signals by separating the hardware from the software even further and transferring the processing into the cloud’. The manufacturer also states that users won’t need to worry about system scalability, as a subscription to the service can be increased for additional processing power. Other advantages include the fact that due to it being in the cloud, no hardware needs to be shipped from site to site and time and costs are saved on set up. AIR can also be managed from a web-based GUI running on the end-user’s choice of device. www.lynx-technik.com

.RQD WKH ÀIWK KONA 5 is a new eight-lane PCIe 3.0 video and audio I/O card from AJA, supporting 12G-SDI as well as HDMI 2.0 monitoring and output. Supporting 4K/UHD and HD frame rates, deep colour and HDR workﬂows via a single cable, Kona 5 can facilitate multiple 4K streams with its multichannel 12G-SDI I/O. The capture and output card is compatible with third-party tools such as Adobe Premiere Pro, Apple Final Cut Pro X and Avid Media Composer. Kona 5 also supports simultaneous capture and pass-through monitoring via 12G-SDI, in addition to HDMI 2.0 output for connecting to modern displays. ‘Kona 5 combines the ﬂexibility of AJA’s Io 4K Plus into a desktop I/O solution with a more power ful feature set,’ noted

And, as well as introducing new solutions, AJA has released a series of updates for existing

Kona 5 Nick Rashby, AJA president. AJA has also increased its range of IP mini-converters with the IPR-10G2-HDMI and IPR-10G2SDI SMPTE ST 2110 video and audio receivers. They feature dual 10 GigE SFP+ cages enabling hitless switching for redundancy protection and support for bridging UHD or HD signals over IP to HDMI or SDI.

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IPR-10G2-HDMI

products. The v2.6 update for the FS-HDR real-time HDR/WCG converter adds Color front Engine support for new HDR output transforms, updated BBC v1.2 HLG LUTs, new BBC v1.2 HLG

LUTs, the ability to upload and store custom 3D Cube LUTs to FS-HDR using the web GUI and ganged operation of Color front Engine parameters. The Helo v3.0 firmware update introduces RTMPE suppor t for Facebook, enhanced HTTPS security, and Chinese, Japanese and Korean language suppor t in the system’s web UI. Finally, the Ki Pro Ultra Plus’ v4.0 firmware includes multichannel independent file naming capabilities, forced rollover functionality that allows users to push a recording to a second AJA Pak media slot during capture, moveable timecode and analogue audio mapping. www.aja.com

Masters of production AVID HAS announced the nextgeneration Maestro Engine realtime graphics and video hardware rendering platform for its Maestro Graphics product line. Maestro Engine scales from HD and 1080p to UHD supporting both SDI and video over IP inter faces. As the successor to Avid HDVG, Maestro Engine enables broadcasters to introduce new production capabilities – including 3G, UHD, HDR and IP workflows – alongside their current HD/SD SDI workflows, with minimal disruption. Available in two configurations – Maestro Engine and Maestro Engine 4K – the platform works with all

Maestro graphics suite solutions, providing per formance, scalability and format that will reportedly surpass users’ current and future broadcast requirements. Staying with the Maestro theme, Avid has unveiled Maestro PowerWall, the next-generation Maestro TD Control described as an innovative display control and management solution that is said to make it easy to present, manage and control rich media across multiple high-resolution studio displays. Maestro PowerWall includes pre-production tools that enable users to respond immediately to last-minute production

86 PRO AVL ASIA Januar y–Februar y 2019 86 PRO AVL ASIA Januar y–Februar y 2019

Maestro Engine changes and quickly be ready to air, without relying on external resources. It features a new touchscreen user inter face that is described as simple to use, making it easy for a single operator to control and play a symphony of rich media across all

videowalls and studio displays. Meanwhile, MediaCentral Editorial Management is the key component of the larger MediaCentral for Post solution, designed speciﬁcally for the needs of smaller postproduction and broadcast teams working

with Avid Nexis. Purpose-built to accelerate postproduction, MediaCentral Editorial Management is said to enable teams to create and collaborate faster and more effectively in an increasingly competitive environment. For Avid editors, it provides an integrated media panel within Media Composer Ultimate, making it easy to search and access bins and clips across an Avid Nexis library. Users can browse, search and organise media using MediaCentral Cloud UX in any web browser or mobile device. www.avid.com

CONQUER THE

ELEMENTS Outdoor rated speakers need to conquer more than just the elements. To be considered high-end audio, a speaker needs to deliver full range high-ďŹ delity sound even in challenging open spaces. In the MX series, this sound is perfected in an ultra-compact architectural case, mounted on a leading-edge single arm bracket that is IP rated to withstand nature in all its fury. The MX series - a conquest of the elements, a conquest of design.

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MX601/MX801 HIGH FIDELITY WEATHERPROOF MONITOR

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PRODUCTS

Powerful projection AIMED AT sports facilities, large live venues, domes and theme parks, Christie has released the all-in-one D4K40-RGB projector. The company claims it is the ‘smallest and lightest highbrightness, omnidirectional, allin-one RGB laser projector on the market’ and is compatible with most Christie Boxer lenses while eliminating the need for heavy external chillers, remote laser racks or special pedestals. The projector can deliver over 30,000 hours of operation to 80% brightness, a 5,000:1 contrast ratio and up to 120fps, and also features a patented, sealed optical path. The D4K40-RGB operates on single-phase 220V power and features 40,000 lumens of Christie’s RealLaser illumination to reportedly achieve improved brightness, colour reproduction, image uniformity, ultra-high contrast ratios and operational lifetime. The D4K40-RGB also incorporates Christie’s TruLife electronics to support a videoprocessing pipeline of up to 1.2

Mounting support for projectors

UHD861-LT Gigapixels per second, enabling 4K DLP at 120Hz per formance. With its 12G-SDI, DisplayPort, Christie Terra SDVoE input card and Christie Link, it can connect numerous sources. A UHD LCD display has also been launched by Christie to complete its Access Series of displays. The 86-inch UHD861-LT display is Crestron Connected, features integrated touch and is designed for 16/7 performance. Suitable for installation in

meeting and lecture rooms, and applications including menu boards and kiosks, the UHD861LT also features USB playback and an OPS slot for integration with a distributed display solution. Designed to work with interactive LCD panels, the display comes with collaboration software to give users the ability to annotate over several running applications or web browsers.

DESIGNED FOR venues where products may change on a regular basis, Peerless-AV has unveiled its Large Venue Projector Mount (PJR250). Said to provide a ‘quick, safe and simple installation’, the PJR250 features a low-proﬁle, pre-assembled design with a Hookand-Hang system that provides a large landing area when securing a projector to the mount. The adaptor plates place the centre of gravity in the middle of the mount, achieving the ‘perfect balance’ when ceilingor ﬂush-mounting a projector, according to the manufacturer. The plates are said to reduce installation time by eliminating the need to install legs. The PJR250

www.christiedigital.com

PJR250

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features horizontal alignment up to 3 inches as well as tilt (+15°/–5°), roll (±5°) and swivel (360°). Peerless-AV has also added two solutions for the 55-inch Samsung Flip: the RMI3-Flip and SR560-Flip. As a result, the Samsung Flip can be mounted on a wall or mobile cart. Once mounted, the negative tilt and rotation is said to allow users to easily write or sketch in landscape or portrait mode. The rotational interface on both the wall mount and cart allows users to rotate the display from portrait to landscape, and holds the display at a negative 4.5° to promote a more natural, angled writing surface. www.peerless-av.com

PRODUCTS

Dejero increases power THE ENGO mobile transmitter from Dejero has been upgraded to give a picture-quality advantage to broadcasters, particularly when capturing high-motion news and sports content. The transmitter’s increased processing power has paved the way for a new dynamic content adaption feature that adjusts the encoding process based on the amount of motion detected within content that is being captured. This

reportedly allows broadcasters to automatically transition from a talking-head shot with limited motion to high-motion content without any softening of the picture or introduction of compression artefacts. The improved transmitter can encode up to 20Mbps and supports 1080p 50/60 for shots requiring the highest picture quality. The manufacturer has also added new features to its Core 5.1

EnGo mobile transmitter

intelligent encoding and network blending software. A new roaming management feature allows customers to turn the roaming capability of the SIMs on or off, said to be especially useful to users transmitting video near borders where signals from wireless network providers in other countries may overlap. The maximum bitrate for live transmission over blended cellular connections has also

been doubled to 20Mbps. The new automated and customisable metadata feature is said to help broadcasters save time when managing and searching for ingested content. Broadcasters can now create custom metadata templates within Dejero Control, the manufacturer’s cloud-based management system.

The ﬁrst member of the series is the DSFB124NL-ST, which features simplex ST-to-ST connections. This was quickly followed by the introduction of the DSFB124NL-LC, accommodating duplex LC-to-LC connections. Both come built for single and multi-mode ﬁbre applications and are constructed to a 1U form factor. DSFB124NL series systems include steel gliding

rails, making it easier to access connections once they have been installed. They come with grommets, cable strain reliefs and bend radius guides, as well as knock-out positions on all four sides. The enclosures are themselves constructed from coldrolled steel with a durable black powder-coat ﬁnish.

www.dejero.com

Bit-by-bit management of AV with IT THE CONVERGENCE between IT and AV technologies continues at a rapid pace. Audio and visual systems are frequently run over IT networks today and, to help manage the wide array of interconnections and crossconnections, as well as complex AV architectures, Bittree has created the DSFB124NL Series of patch panel enclosures.

DSFB124NL-ST

www.bittree.com

1/2 PAGE small. light. fast. Introducing the solo, designed for the next generation of content creation

disguise.one/solo

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PRODUCTS

Error-free streaming DESIGNED FOR field use, JVC’s BR-DE900 ProHD decoder supports H.265 and H.264 compression standards. When paired with the manufacturer’s IP-enabled cameras, the decoder is said to provide a bandwidth-efficient, error-free streaming solution over any network, including the internet. The BR-DE900 reportedly offers low-latency and versatile audio/ video connectivity for ENG field reports and other video over IP applications. It offers decoding of HEVC or H.264 streams up to 10-bit 4:2:2 1080p/60, with bit rates up to 50Mbps. Connectivity options include dual 3G-SDI, HDMI 2.0 and composite outputs, as well as multiple audio outputs. The decoder also includes integrated video scaling, frame sampling and de-interlacing for any stream to any output resolution or frame rate.

BR-DE900 Two new series of studio LCD monitors have also been unveiled by the Japanese manufacturer. The DT-U and DT-G series are equipped with a new zero-latency image processing mode with only a few lines of delay. Both series also feature 3D LUT 17x17x17 auto calibration with a built-in colour generator and calibration software. The DT-U series is available in two models – the 28inch DT-U28U and the 31.5-inch DT-U31U – and provides native 4K resolution with 10-bit colour

depth and HDR compatibility. The models also feature an LED backlight, wider colour gamut, and HLG HDR and PQ HDR display. The four models in the DT-G series convert 4K and 2K sources to full HD. The monitors support 4K/60p HDMI and 2K-SDI signals. Each 8-bit panel has 10-bit signal processing and an LED backlight, with the three largest models offering a 1,000:1 contrast ratio. JVC has also released its Connect Cam range. The ﬁrst addition, the GY-HC900, is a

⅔-inch broadcast camcorder that features a new communications engine that reportedly optimises both image processing and IP performance. The camcorder has been designed as a complete news over IP workﬂow solution for live ENG reports and delivers streaming performance up to 20Mbps. The GY-HC500 and GY-HC550 models feature a 1-inch 4K CMOS censor that is combined with a 20x lens with

three-ring control. Both models can achieve up to 12 stops of dynamic range, with support for BT709, BT2020 and BT2100 HLG colour spaces. The camcorders also offer live streaming, FTP ﬁle transfer and remote camera control over IP. pro.jvc.com

GY-HC900

Switching on the move BROADCAST PIX has introduced BPswitch RX, a portable and self-contained model that forms part of the manufacturer’s line of integrated production switchers. BPswitch RX provides multi-camera production and high-end motion graphics for live production and comes complete with touchscreen display and integrated streaming to Facebook Live and other CDNs. Ideal for concerts and other live events, BPswitch RX features four multi-deﬁnition video inputs, plus two IP inputs that support RTSP and NDI protocols. It also includes eight channels of clips

and graphics, a built-in audio mixer, three keyers with DVEs and seven outputs. The integrated NewBlueNTX multi-layer 3D motion graphics CG includes hundreds of title styles and templates for creating and updating lower-thirds, bugs, animations, rolls, crawls and looping effects such as a glint or shine. Programme recording, clip and graphic stores, ﬁle-based macros, ClearKey Chromakey and Virtual Studios virtual sets are all built in, along with a customisable multi-view. The system is housed in a durable aluminium alloy chassis with a built-in handle for

transport. Although BPswitch RX can be operated with the included keyboard and mouse, users can

connect a traditional Broadcast Pix control panel or use the optional Broadcast Pix Commander

customisable touchscreen interface. BPswitch RX provides full-motion video and access to all sources and workﬂow tools through a browser-based interface that can be accessed by tablet, phones and laptops. The company’s BPNet IP ecosystem, powered through the ioGates cloud-based media management platform, delivers BPswitch’s control-over-IP capabilities with low latency, as well as extended encryption and two-factor authentication for secure performance. www.broadcastpix.com

Ross extends Carbonite family

HAVING LAUNCHED the Carbonite switcher seven years ago, Ross Video has extended the Carbonite family by consistently adding new features and functions to the format. The Canadian developer has revealed its next-generation, mid-size switcher in the form of Carbonite Ultra. Built on an entirely new 1U hardware platform, the 24-in/14-out format

Carbonite Ultra provides 240% more processing power than the original Carbonite. Replacing the original series of production switchers, the Ultra can be conﬁgured with between one and three MEs, between two and four 16-window MultiViewers, Frame Syncs and Format Converters on all inputs and processing plus colour correction on all inputs

90 PRO AVL ASIA Januar y–Februar y 2019 90 PRO AVL ASIA Januar y–Februar y 2019

and outputs. Following the Software Deﬁned Production philosophy of future-prooﬁng, added features will be introduced via free-ofcharge software updates and new software-licensed functions. The next software release will unlock 12G/UHD support for 2ME and 3ME systems. Designed for ease of control and movement between products and applications while maintaining equipment speed, Ross Video has also unveiled the Ultritouch customisable system-wide hardware control and monitoring panel. The rack-

mountable touchscreen panel balances traditional functionality where system-wide control can be conducted across almost the entire Ross Video portfolio. Other key features include DashBoard open control, button mapping and next-generation workﬂows via the fully integrated touch UI with multi-device navigation. Following a trend in live production to gravitate towards integrated PTZ cameras for all types of varied content creation, Ross Video has introduced the PivotCam-SE. Featuring a new 12.4 megapixel, ½-inch CMOS sensor, the PivotCam-SE captures 1080p HD video and

offers a 3G-SDI output and an external synchronisation (Genlock) input. The PivotCam-SE’s Ethernet inter face offers the option for single cable connectivity, providing remote control via IP Visca protocol, video output using 4K UHD IP streaming and PoE over a standard Cat-5e cable. The optical stability of the PivotCam-SE has been enhanced with the addition of a second arm, ensuring a clean and stable image, even on the tightest shots provided by the 23x optical and 2x lossless digital zoom. www.rossvideo.com

BRIO: OUR BIGGEST TINY CONSOLE, EVER. NOW WITH 96 CHANNELS. Calrecâ&#x20AC;&#x2122;s Brio console has been boosted by new channel expansion packs. Packs increase the Brio12 DSP count from 48 to 64 input channels and the Brio36 from 64 to 96 input channels.

anthony.harrison@calrec.com calrec.com

Brio is packed with pure broadcast features as standard; broad IP functionality, MADI connectivity, comprehensive monitoring, automixers, loudness metering, full 5.1 capability, extensive IFB resources and built-in I/O. Still small in size, even bigger in stature.

PRODUCTS

From alpha to Omega ATLONA HAS unveiled three new products that will form its Omega Series. First is the AT-OME-TX21WP-E, a 2x1 HDBaseT switcher with HDMI and USB-C inputs and has been designed to work with the AT-HDVS-200-RX or AT-HDVSSC-RX scaling receivers, the AT-UHD-EX-100CE-RX-PSE receiver and Atlona HDBaseT-equipped switchers. The enclosure has 4K UHD capability at 60Hz with 4:2:0 chroma subsampling. It has remotely powered PoE with an automatic input selection and

automatic display control. The other two products are the AT-OME-ST31 and AT-OMESW32. The AT-OME-ST31 is a 3x1 switcher and HDBaseT transmitter with HDMI and USB-C inputs and mirrored HDMI and HDBaseT outputs. Video signals up to 4K/60 4:2:0 can be transmitted over HDBaseT up to 100m. All inputs and the local HDMI output support 4K HDR and 4K/60 4:4:4 at HDMI data rates up to 18Gbps. The AT-OME-ST31 is designed for use with Omega

AT-OME-ST31 Series receivers and switchers, select HDVS Series receivers such as the AT-HDVS-SC-RX scaler, the AT-UHD-EX-100CE-RX receiver and other Atlona switchers with HDBaseT inputs. The AT-OME-SW32 is a 3x2 matrix switcher with HDMI and USB-C inputs, and HDMI outputs.

It supports 4K HDR and 4K/60 4:4:4 at HDMI data rates up to 18Gbps. Depending on the intended application, the AT-OME-SW32 can be set to speciﬁc switching modes that include mirrored outputs (default), one of the outputs ﬁxed to an input or

unrestricted matrix switching. Both switchers are HDCP 2.2-compliant. The USB-C input is ideal for AV inter facing with newer Mac, Chromebook and Windows PCs, as well as smartphones and tablets. 4K downscaling to 1080 at 60Hz, 30Hz and 24Hz is available for one of the HDMI outputs (ATOME-SW32) and for the HDMI output (AT-OME-ST31) when connected to an HD sink. www.atlona.com

6RQ\·V FRORXUIXO ZRUOG 4K global shutter three CMOS sensor system. It supports HD, HDR and 4K, as well as IP capabilities and comes with an exchangeable transmission side panel. The HDC-3100 and HDC-3170 incorporate ⅔-inch HD global shutter three CMOS sensor systems and are capable of HDR and SMPTE ST2110. The HDC-3170 supports thirdgeneration digital Triax technology and is capable of connecting over distances of up to 1,800m.

HXR-NX200 TARGETING PROFESSIONAL videographers and content creators, the HXR-NX200 is Sony’s latest product in its NXCAM handheld camcorder line-up. The camcorder is capable of capturing high-resolution images thanks to its 1.0-type Exmor R CMOS image sensor with effective 14.2 megapixel and cutting out in HD during postproduction. It includes the company’s reﬁned colour science that reportedly provides a more vivid, deep and rich variation of colours and natural skin tones, regardless of exposure condition. It is equipped with a 29mm wide-angle G lens along with three independent manual lens rings that enable manual control of focus, zoom and iris. A 12x optical zoom is enhanced by Sony’s By Pixel Super Resolution Technology, Clear Image Zoom, at 24x in HD and 18x in 4K. A ‘simple and affordable’ production ecosystem is repor tedly achievable when paired with the MCX-500 multi-camera live producer and the RM-30BP remote commander.

4K and HDR content, supporting industry standard brightness of up to 1,000 nits in full screen and a 1,000,000:1 contrast ratio for HDR productions. It supports 12G-SDI to allow 4K transmission with a single SDI cable. It handles ITU-R BT.2020 colour space and HDR images with Hybrid Log Gamma (HLG), SMPTE ST2084 and 2.4 (HDR) gamma alongside S-Log2, S-Log3 and S-Log3 Live HDR for SR Live Workflow. Finally, the manufacturer’s Venice motion picture camera has received an Extension System and Version 3.0 firmware update. The Extension System is said to increase Venice’s mobility and allows the camera to attach to gimbals, handheld stabilisers, underwater and helicopter housings, 3D/VR rings and be used in tight and unconventional spaces, such as vehicles, cranes or Russian arms. Version 3.0 firmware adds a recording profile

within the X-OCN (eXtended tonal range Original Camera Negative). The new proﬁle, X-OCN XT, reportedly captures the highestquality imagery with an AXS-R7 portable memory recorder.

VADDIO’S PRIMESHOT 20 HDMI HD PTZ camera has been released to suit those requiring high-definition video capture but with tight budgets to adhere to. It includes a range of output options, such as S-video, in addition to HDMI. The manufacturer states that it is ‘ideal for houses of worship and lecture halls’. The PrimeShot 20 HDMI has a 20x optical zoom with a 55° horizontal field of view, a 2.12 Megapixel (effective), native 1080p/60 full HD image sensor, and features HDMI 1.3, S-Video and IP streaming outputs that can be used simultaneously. Included in the box along with the PrimeShot 20 HDMI are a thin, profile wall mount with mounting tools, Vaddio’s IR Remote Commander and 12 VDC, 3-amp switching power supply sets with AC cords. A web-based user interface allows remote configuration, management and control. With pan and tilt movements of up to 90° per second, the PTZ camera can also be integrated with Telnet or serial RS-232 control.

www.pro.sony

www.vaddio.com

HDC-P50 Sticking with the camera theme, Sony has also unveiled four live production system cameras: the HDC-P50 POV system camera, the portable HDC-3500, and the Fiber (HDC-3100) and Triax (HDC-3170) system cameras. A Triax CCU, the HDCU-3170, has also been launched. The HDC-P50, according to the manufacturer, incorporates the world’s ﬁrst ⅔-inch 4K global shutter three CMOS sensor system which provides a wider dynamic range. Its three 4K sensors achieve ITU-R BT.2020 broadcast standard widened colour space. The HDC-3500 expands on the HDC-2000 series with the addition of the ⅔-inch

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HDC-3500 The BVM-HX310 is a 31-inch Grade 1 reference monitor and has been created in response to the industry’s desire to overcome the challenges of accurate picture evaluation, especially in the black reproducibility. The monitor is capable of reproducing

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PRODUCTS

9LQWHQ JRHV ZLWK WKH ÁRZWHFK VINTEN STATES that its flowtech carbon fibre camera tripods have ‘the world’s fastest-deploying legs’, as well as quick-release brakes and adjustable levers for quick and easy set up. The first product in the range is the flowtech 75 tripod, which is compatible with 75mm fluid heads. With a set of two-stage legs and a mid-level spreader, rubber feet and a payload capacity of 20kg, the flowtech system’s quickrelease brakes ensure the legs are deployed simultaneously, adjusting automatically to the ground. A hinge-lock mechanism allows for the capture of extremely low, ground-level shots without the

need for additional ‘baby legs’. flowtech 75 is designed to be lightweight and easy to transport with magnetic locks that the legs fix to in transit. A detachable carry handle and a compact dolly are available as optional extras. Vinten has also released new ceiling track and floor track systems in collaboration with Tecnopoint. The Vinten Hexagon floor track system is built for easy assembly and so that no cables run outside of the track. Along with the ceiling track solution, Hexagon fully integrates with all Vinten robotic camera supports. flowtech 75

www.vinten.com

7UDQVLWLRQLQJ WR ,3 NEWTEK HAS produced an NDI Software Developer Kit to allow developers and manufacturers to implement the NDI protocol, NewTek’s Network Device Interface technology, to enable IP connectivity and video transfer between devices. The kit supports ﬁnding, sending and receiving any number of video streams over IP, with the encoding algorithm supporting all video resolutions and frame rates up to 4K as well as 16 channels of audio. It also includes tools to implement video access and grouping, bidirectional metadata and IP commands. Also new from the IP video technology specialist is the NC1 Studio I/O module that

NC1 I/O IP translates up to eight compatible video sources to SDI or NDI for input, output or a combination of both. The module can also be conﬁgured for dual-channel 4K ultra HD at 60fps with support for 3G-SDI quad-link grouping. It can be integrated with compatible systems and devices for switching, streaming, display and delivery, and allows users to stack modules in a single location or station in multiple locations.

Other features include a builtin video server function with extensive ﬁle format support, including full-resolution 4K UHD playback; real-time input, conversion and transmission of common IP video stream formats, including RTMP, RTSP and HTTP; and ﬂexible audio integration supporting input and delivery of digital, analogue and network audio, including Dante and AES67. www.newtek.com

)DVWHU SRVWSURGXFWLRQ ZRUNÁRZV BLACKMAGIC DESIGN has announced the public beta of Blackmagic RAW, a codec that ‘combines the quality and benefits of RAW with the ease of use, speed and file sizes of traditional video formats’. The codec features technologies such as an advanced de-mosaic algorithm, metadata support and optimised GPU and CPU accelerated processing. It can be used from acquisition throughout postproduction for editing and colour grading. Blackmagic RAW moves part of the de-mosaic process into the camera where it can be hardware accelerated by the camera itself. This, according to the manufacturer, results in efficient encoding that gives customers the same quality, bit depth, dynamic range and controls as RAW, but with better performance and smaller file sizes than most popular video codecs. Because the processor intensive partial

de-mosaic is done by the camera hardware, software such as DaVinci Resolve doesn’t have to do as much work decoding the ﬁles. As the image data, along with the unique characteristics of the image sensor, are encoded and saved into the Blackmagic RAW ﬁle, users reportedly experience better image quality, even at higher compression settings, as well as control over features such as ISO, white balance, exposure, contrast and saturation. Images are encoded using a custom, nonlinear, 12-bit space designed to provide the maximum amount of colour data and dynamic range. Users can download the public beta for use with Ursa Mini Pro cameras via the Blackmagic Camera 6.0 beta update, while the DaVinci Resolve 15.1 update also includes support for Blackmagic RAW. www.blackmagicdesign.com

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ArKaos hooks up with NDI ARKAOS HAS updated its MediaMaster Pro media server software, MediaMaster Express video control software, Grand VJ real-time video mixer software and GrandVJ XT (an extended version of GrandVJ 2) to integrate

NewTek’s NDI (Network Device Interface) protocol. This means that all four products can be recognised as a source by other NDI-enabled applications and devices via an Ethernet LAN. Michael Kornet, executive vice

94 PRO AVL ASIA Januar y–Februar y 2019 94 PRO AVL ASIA Januar y–Februar y 2019

president and general manager of NDI at NewTek, stated that ‘NDIenabled devices exponentially increase the video sources available for live productions’. NewTek’s NDI technology is royalty-free and allows video and audio sources to be shared across a network in both directions, negating the need for infrastructure upgrades. ‘NDI will auto-discover the sources and receivers on the network and will happily coexist with other protocols used in the lighting industry,’ explained ArKaos CEO Marco Hinic, also noting how another aspect that attracted ArKaos to NDI was its low latency. www.arkaos.net ndi.newtek.com

Signal distribution made simpler ELC LIGHTING has designed its DLN8GBXSL eight-port slave node to simplify Ethernet/DMX network distribution for live entertainment applications. The DLN8GBXSL acts as a substitute for a DMX splitter rack, where all DMX ports are fully programmable as output, input, merge or backup, as node ports. Designed as a slave to the dmXLAN switch (GBx10 or GBx18), the DLN8GBXSL forms part of ELC’s GBX Distribution System. This switch is the master, and up to 15 slave units can be

daisy-chained via the Ethernet ports. The system supports all open protocols including sACN, Art-Net and ShowNET. The DMX ports can be conﬁgured via the user interface of the switch or with the dmXLAN software. Up to 15 DLN8GBXSL slave units can be connected to the switch, resulting in a system rack with 120 fully programmable DMX/RDM ports. Both nodes offer data splitting, merging, softpatching and backup when programmed using dmXLAN. www.elclighting.com

PRODUCTS

Avolites unlocks 4K playback THE AVOLITES Ai Q3 Server unlocks 4K playback through a single DisplayPort 1.2 connection. Combined with two additional DVI outputs, the Q3 is

described by the manufacturer as ‘the per fect solution to power live events, installs and anywhere else that live video manipulation is required’.

The Q3’s hardware is said to be the ideal vehicle for Avolites’ Ai software. It offers industry-standard connections to the rest of the system, as

well as the ﬁrepower to drive the company’s builtin live effects and support Notch integration. The front-

mounted screen allows conﬁguration of outputs from outside the OS. www.avolites.com

The sharpest tool in the box RAYZOR 760 is a compact yet powerful LED wash effects luminaire and the ﬁrst ﬁxture to feature Elation’s new TwinkLED system. With a wide zoom range from 5–77°, Rayzor 760 provides mid-air beams with over 8,000 lumens, as well as a wide and even wash coverage. The luminaire is driven by seven, independently controlled, 60W RGBW LEDs, while the oversized front lenses create a large surface that is enhanced by the patent-pending TwinkLED technology. TwinkLED consists of 28 individual white LEDs placed inside the lens to create an additional layer of effects, allowing

Proteus Rayzor 760

designers access to new ways of creating interest on stage. Rayzor 760 is also available in a compact and lightweight weatherand dust-protected IP65 version, Proteus Rayzor 760, for use in any environment. The Proteus Rayzor 760’s design reportedly makes it the world’s ﬁrst IP65-rated luminaire with continuous pan and tilt rotation. Elation has also added an IP65-rated version of Smarty Hybrid, the Proteus Smarty Hybrid. Encompassing the same feature set and using the same Philips MSD Platinum Flex 200 lamp with a 6,000-hour lamp life, the

Artiste Van Gogh Proteus Smarty Hybrid’s IP65 dust and water protection means the ﬁxture can be used indoors or out. Features include fast movement, motorised zoom, full CMY colour mixing, 13 dichroic colours, two

gobo wheels, prism overlay and frost ﬁlter. Artiste Van Gogh is the latest addition to Elation’s Artiste range of luminaires. It provides up to 16,000 total lumens from a 380W high CRI LED engine, while CMY and CTO colour mixing and a seven-position colour wheel provide ﬂexible colour options. An internal four-blade barndoor system reportedly allows for beam shaping and light control at any angle. The luminaire comes with a wide zoom range and choice of PC or optional Fresnel lens. www.elationlighting.com

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PRODUCTS

Accentuate the positive ALTMAN LIGHTING has introduced its AP-150 RGBW LED PAR luminaire designed to accentuate any theatrical or architectural lighting design. It is described by the manufacturer as a compact and lightweight 135W wash that produces deep, saturated colours and soft, delicate pastels, while maintaining

a smooth, uniform beam throughout the entire motorised zoom range. Weighing under 5kg, AP-150 replicates the soft output of a traditional PAR wash with control states from 8-bit, 16-bit, RGB and HSIC. The factory and custom colour presets reportedly allow for the quick selection of most

www.altmanlighting.com

Bora-S brings aerial effects to large venues

Brighter beam effects CZECH LIGHTING manufacturer Robe has updated its moving light range, Spikie, to create a brighter, larger beam. The 250W RGBW LED multichip SuperSpikie features an optical system with a zoom of 3.5–42° and includes two rotating gobos for producing smarter aerial effects. The movement of the light source has been updated for smoother colour mixing and the ﬁxture now has a variable CTO range between 2,700K and 8,000K with tungsten effects, including red-shift and thermal fade. The vari-speed double rotating ﬂower effect of the Spikie has been retained

produces a beam spread between 12° and 65°, while the luminaire also has built-in stops at five different set points for precise beam spread repeatability. A ‘tech identify’ option flashes the fixture’s LEDs without disrupting focus.

widely used entertainment colour choices, while the light also provides the ability to record colour presets directly to the luminaire for custom colour playback. The AP-150 also offers a variety of strobe options, ranging from pulse to fade, to a 30Hz strobe rate. The motorised zoom

and a 1-3 facet circular prism allows for more creative options than the older edition, all packed into a compact housing weighing 16kg. www.robe.cz

FOR BIG venues, including outdoor and indoor arenas and large houses of worship, Ayrton has launched Bora-S, an LED washlight with gobo projection and framing functionality to produce aerial effects. The fixture is also designed to be compact, leaving a similar footprint to the manufacturer’s Ghibli light. Bora-S produces an output of 38,000 lumens from an 8,000K white LED engine. This reportedly draws on 750W of power, which Ayrton states is a fraction of the power consumption required by similar LED fixtures. The light includes a 178mm PC (perspective control) front lens, an 8:1 zoom with a beam range between 8° and 64°, full field framing

Bora-S functionality, an iris, a rotating gobo wheel, a pair of colour wheels and a full CMY + CTO colour system with a CRI of more than 70.

The letter S appears at the tail end of another new Ayrton fixture. Khamsin-S is an automated LED profile spotlight, which the manufacturer claims is the ‘brightest on the market’. Utilising the same 750W white LED engine as Bora-S, Khamsin-S features two rotating gobo wheels, an animation wheel, full field framing, two prisms, an iris, two frosts, two fixed colour wheels and a full CMY + linear CTO colour system, as well as a 9:1 zoom with a 6.5–56° beam range. TC (True Colour) versions of both lights are also available from Ayrton. Bora-TC and Khamsin-TC offer a higher CRI. www.ayrton.eu

Cinestar in the sky CINESTAR IS the latest lighting solution from Airstar for both indoor and outdoor requirements. The lighting balloon boasts a 120° ﬁll light diffusion and an embedded LED light source (850W). Reportedly taking just 15 minutes to set up, the airinﬂated Cinestar is mounted on a tripod, weighs 12kg and is 160cm in diameter, producing

‘even and non-glaring light’. The manufacturer states that it offers a lifespan of more than 50,000 hours and colour temperatures that can be ‘instantly tailored’ from a warm 2,700K to a cold 6,500K. Making use of Airstar’s Dynamic White technology, Cinestar is also designed with 31kHz ﬂicker-free technology. ‘This product sets itself apart from the competition

Cinestar

thanks to a 120° opening with 50% of the total illumination, its weatherproof feature which makes it per fect for outdoor use and its circular shape offers beautiful reﬂections,’ explained Airstar sales manager, Xavier Ponson. Meanwhile, Airstar has launched Neo, its latest inﬂatable lighting structure inspired by neon tubes. Offering a brightness of 8,500

lumens and measuring 5m x 20cm (LxW), Neo can either be installed on the ground or mounted. ‘It may sound odd, but the Neo concept could be described as a genesis of the Jedi lightsaber and my grandmother’s kitchen neon’, explained JeanPierre David, one of Airstar’s industrial designers. www.airstar-light.com

GLP turns heads TARGETING THE broadcast segment and showcase events, GLP has released an LED moving head companion to its impression S350. The manufacturer claims that the moving head offers a ﬂicker-free operation with smoother electronic dimming and multiple dimming curves, while eliminating colour shift when delivering random and

pulse electronic strobing effects. Meanwhile, its high colour temperature of 7,500K claims to provide a hard-edge, mid-air effect beam for brighter gobo projections. The impression E350 houses a CMY colour mixing system with separate CTC Channel, along with an eight-facet prism, a light and heavy frost, two gobo wheels,

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a 14-blade iris and a 10-slot colour wheel plus 640° pan and 262° tilt in 16-bit resolution. ‘Our ﬁrst priority was to get maximum output and efﬁciency from a 350W LED engine, with intensive 7,500K default white, as we knew this would be per fect for mid-sized shows or wherever compact form factor and low weight are required. In fact,

the E350 outputs up to 9,500 lumens at maximum 550W power consumption,’ said GLP product manager, Michael Feldmann. The LED engine also includes an adjustable animation wheel for horizontal, diagonal and vertical animation effects and weighs in at just 24.5kg. impression E350-1

www.glp.de

27-29 AUGUST 2019 Melbourne Convention & Exhibition Centre

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Teaming up

Luna Nudo

Several clubs to open in Mumbai have been installed with Martin Audio sound systems. Caroline Moss visits the new arrivals on the city’s party scene ASK ANYONE WHO’S ATTENDED ONE OF ITS SOIRÉES during the annual PALM India show, and it would appear that Mumbai-based sound and lighting distributor, Integrated Entertainment Solutions (IES), knows a thing or two about partying. So it stands to reason that when the Ramee luxury hotel group teamed up with Richboyz Entertainment event management to create a new venue, it was to IES they turned to provide the latest in club technology. One of the first results of the tie-up is Bombay Adda in Khar. The distributor had been contacted by Richboyz, whose team had visited a previous Martin Audio installation at a Kamla Mills venue that they admired. ‘Adda means “hangout” in Hindi, and Richboyz wanted us to create a lounge-type environment,’ explains IES’ co-owner, Kekul Sheth. ‘However, knowing what kind of nights they specialise in, we designed something suitable for a nightclub setting too.’ The venue occupies two new floors that have been constructed on top of an existing building. ‘When we came on board it was a shell; just the four walls,’ continues Sheth. ‘This was good for us and the installation team as we were in plenty of time to run the wiring where it needed to go, before the interior design was started.’ The eighth floor – the lower of Bombay Adda’s two levels – has duly been installed to pack a punch with a main system of four Blackline X15 2-way speakers with a CSX-Live 218 dual 18-inch subwoofer. Originally, two of the latter were installed, but were found to create too much reverb down through the building, not to mention the recording studio below. The remaining sub, which has proved to be more than enough for the space, has been installed next to a boxing ring where, occasionally, live bands are staged. DJ nights are more common at Bombay Adda, however, and the venue is open seven days a week, attracting a crowd of Mumbai partygoers each night. Situated above the club area, the ninth floor features an open kitchen and roof terrace. Open from lunchtime until late into the night, this space has a small system of six Martin Audio ultra-compact CDD6 speakers and a CXS112 compact subwoofer, while the outdoor terrace has been installed

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The VIP dining area at Luna Gusta has been installed with two Martin Audio CDD5s with CDD5-WR weatherised 5-inch speakers. ‘We’ve used compact speakers from the CDD range on the ninth level speciﬁcally for the good coverage it provides and, as there is a weatherised version, we could use it outside,’ says Sheth. And if proof of its durability was required, the CDD5-WR system has sailed through India’s epic monsoon season. The entire sound system at Bombay Adda is powered by amps from Powersoft’s M and K Series, and zoning is handled via a Martin Audio DX0.5 loudspeaker management system. This gives ﬂexibility, allowing the same musical content to be played in the restaurant and the club, or for the systems to run independently of each other. ‘It was very important to the owners that they could run the restaurant and terrace as a separate system,’ says Sheth. With its industrial, relaxed interior design and vintage photographs, Bombay Adda is an example of how the city’s heritage can be used to great effect. Just across town in Lower Parel, in one of the city’s tallest skyscrapers overlooking the Arabian Sea, is a very different venue: Luna Nudo. Occupying the 37th level of the St Regis hotel, Luna

Nudo exemplifies international five-star glamour. But here, too, Martin Audio sound systems have been selected to keep customers coming back night after night. IES has also installed the bar/club area with lighting including Robe ParFect 100 and CycFX 4 models controlled by an Avolites Titan One DMX USB dongle, and LED modules for peripheral ambience lighting. These run off a Madrix Nebula LED pixel tape driver and change colour within a warm palette to complement the theme of the décor. This project was somewhat more challenging than the installation at Bombay Adda as the team was working in a space that was already constructed. Luna Nudo occupies an area that was previously an open-plan lift lobby. Walls were constructed to create the new club and the Luna Gusta fine dining restaurant that sits above it on a mezzanine level. ‘Running the wiring here was difficult because the place was already built, and the control room is located some distance from the actual club,’ explains Sheth. ‘Cabling had to be chased right throughout the ceiling to get it where we needed it to be.’ Live music is staged in the dancefloor area of Luna Nudo each evening until 11pm, when DJs take over until the early hours. Here, the system has been designed to give more control over directivity, with two XD15 and XD12 high-output speakers providing the main system, together with a CSX-Live 218 sub, two DD6 differential dispersion speakers and two O-Line modular micro line array models. ‘It needed to be loud, but one of the issues we faced was having a large floor-to-ceiling window that runs along one side of the space,’ he continues. ‘So we’ve used a combination of XD and O-Line speakers, as well as providing them with differential directivity speakers that help control the sound and get it where it needs to go.’ Above in Luna Gusta, eight CDD8s provide background and ambient music, while two CDD5s cover the VIP seating area of the restaurant. Again, the systems are driven by Powersoft M and K Series amplification, and system control is via two Martin Audio DX1.5 loudspeaker management systems.

FEATURES: INSTALLATION

The main room at Bombay Adda

Located north of the city in Thane, the Warehouse Lounge is a 2,750m2 venue in an industrial compound that is being transformed into a new entertainment hub. Zoned into three distinct areas, the Warehouse Lounge boasts a ground-floor club and a VIP section on a mezzanine level above, which extends into an alfresco dining terrace with an enclosed private party room. Resident DJ Teeju spins the tunes most evenings and the venue also hosts a number of themed events such as Bhuttiya (Halloween), Oktoberfest and Salsa nights. Two Martin Audio CDD15 high-output coaxial speakers provide the main dancefloor system, together with a pair of CSX118 compact subwoofers. Two CDD12s and two Blackline X118s take care of a restaurant area on the ground floor, with 14 CDD6s for the mezzanine level. Again, weatherised versions have been provided, this time for the outdoor restaurant, where six CDD5-WRs have been installed. System control is provided by two Martin Audio DX0.5 loudspeaker management systems, and the entire system is run off Powersoft Quattrocanali, Ottocanali and K Series amplification. The lighting at the Warehouse Lounge has been designed to create maximum visual impact upon entering the club. Central to this, IES has designed and supplied a central lighting system consisting of 625 LED pixel tubes suspended from the slanted ceiling above the dancefloor, which have been programmed using Madrix v5 lighting control software and controlled via a Madrix Nebula LED pixel tape driver. The LED tubes are complemented by moving heads, a haze machine and a laser that extends from the bar all the way through to the entrance. Throughout the premises, a great deal of LED pixel tape and architectural LEDs have been used, with DMX programming taken care of by an Avolites Titan Mobile light control system, with all the different elements combining to provide a visual treat. In devising and providing carefully tailored entertainment technology systems for a diverse selection of venues, IES is playing a part in keeping Mumbai’s nightlife scene fresh and interesting.

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www.avolites.org.uk www.iesolns.com www.madrix.com www.martin-audio.com

Martin Audio CDD5-WRs cover the terrace at Bombay Adda

www.powersoft-audio.com www.robe.cz

LED tubes are suspended from the ceiling at the Warehouse Lounge

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FEATURES: INSTALLATION

Ritz-Carlton’s pillarless, 1,000-seat capacity Grand Ballroom is in constant use

Concept Systems Technologies’ Gerald Fong with Ritz-Carlton AV manager Muhammad Najib

Belle of the ball

As hotel renovations in Singapore continue apace, Concept Systems Technologies has breathed new life into the Ritz-Carlton ballroom. Richard Lawn reports IT’S FAIR TO ASSUME THAT GERALD FONG DOESN’T OWN a tuxedo or formal black tie. The director of Singaporean systems integration company, Concept Systems Technologies (CST), seems to spend most of his working life in hotel ballrooms, so probably has little inclination to dine or be entertained in one when he eventually clocks off. However, the expertise, knowledge and commitment that his team provides its growing client list is perhaps unprecedented in the Lion State. Bringing peace of mind to hotel managers and quality assurance to AV operators, CST’s professionalism, coupled with today’s insatiable appetite for the most up-to-date technological solutions in these elegant rooms, earns the company continued repeat business. Having successfully integrated a weatherised loudspeaker system into the outdoor pool area of the Ritz-Carlton, Millenia Singapore in 2016, the team was called back to site by the hotel’s AV manager, Muhammad Najib. The reward was the prized, iconic, 1,000-capacity Grand Ballroom. The pillarless function space hosts society weddings and lavish dinner parties in addition to corporate events, fashion shows and car launches for the likes of Porsche, Rolls Royce and Lamborghini on account of its ground-ﬂoor location and wide doors that allow vehicle access. As the venue is very much in demand, the hotel was reluctant to allow the AV contractor much downtime in which to complete its tasks. ‘We had to plan our works very carefully in advance,’ explains Fong. ‘Once the hotel agreed on the plans we submitted, we ordered the equipment from our various suppliers and, when we were allowed on site, the crew knew exactly what to do and the time in which to complete it.’ Having applied military-grade tactics to the 1,090m2 nondivisible space, CTS has transformed and differentiated the hotel from others in this ultra-competitive city. The previous L-C-R loudspeaker system with delay cabinets was removed to make way for an elegant but powerful Norton line array solution. ‘The point source system was not only a visual distraction but didn’t provide even dispersion during live events,’ continues Najib. ‘We knew the line array system would provide consistent coverage to the rear walls

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Datavideo PTZ camera can also be output to the LED videowalls and recorded when required. Racked in the upper rear control room, a high-resolution videowall controller and HDMI 8x8 matrix together with pro LED display controllers are central components in the video signal path. To accommodate the L-R 5.8m-wide LED screens, the installer had to create scaffold structures on either side of the stage. Now concealed by wooden panelling that matches the rest of the Grand Ballroom, the walls were built out by some 200mm. ‘The clarity and definition of these LEDs are incredible,’ continues Najib. ‘The motorised screens serving the previous ANSI lumens projectors took over 30s to come down from their fixings. Initially, the aesthetics were a bit of an issue with the management but, once they saw the results, they liked it.’ The management’s concerns also extended to the addition by CST of 14 Martin moving heads on the ceiling. Mitigating their visual impact, the four MAC Quantum Wash, four MAC Quantum Profile, four MAC Aura and two Rush MH1 Profile Plus LED fixtures are finished in white. Stage illuminations are enhanced by two MAC Aura and two Rush MH1 Profile Plus LEDs, while presentations and awards are given the rock-

The L-R line array solution for the ballroom comprises six Norton LS4 3-way modules with no loss of dBs but were concerned that it would be an eyesore. Fortunately, it is relatively unobtrusive and seems to blend in well with the new setup.’ The new setup that Najib refers to is reference to a 23m x 4m LED videowall, combining three modular high-deﬁnition screens with a pixel pitch of 3.9mm and capable of providing peak brightness of 1,000 nits. Stage space is maximised as the central 11m-wide LED screen can be brought forwards or backwards as desired. In addition to DVD playback and PC imagery, 360° event footage from a ceiling-mounted

CST designed and installed a Norton Audio speaker system for the outdoor swimming pool in 2016

FEATURES: INSTALLATION star treatment courtesy of two Martin JEM Hazer Pro haze machines. A Martin M2PC wing lighting console and a laptop loaded with Martin software offer a choice of lighting controls. Although the previous ceiling speaker system has been retained, it is now virtually redundant as the FOH Norton Audio line array system is the preferred choice for all events requiring BGM, reinforced speech or live music. Suspended as L-R hangs and fixed above the stage, each array consists of six LS4 3-way dual 8-inch modules operating within a frequency range of 80Hz to 20kHz. But locating a berthing position for the four SB118 single 18-inch subwoofers required for low-frequency extension down to 28dB (±10dB) provided a headache for CST. ‘We couldn’t fix these above the stage as it would definitely be an eyesore for the audience and we couldn’t install them into the lateral walls, as low-frequency emissions would shake the LED scaffold towers,’ explains Fong. ‘We simply ground-

The entire speaker system is powered by eight Norton CF10 Class-H ampliﬁers

Four ﬂoor-standing SB118 subwoofers extend the ballroom’s lower frequencies

CST added 14 Martin moving heads onto the ballroom ceiling stacked them to the left and right of the stage, but they can be removed when required.’ The hotel AV operators mix live performances on a Yamaha TF5 48-channel digital console, whose microphone inputs on stage are routed from two Tio1608-D 24-channel I/O breakout boxes. The addition of an NY64-D Dante expansion card enables further network configuration and management in addition to low-latency characteristics. The entire speaker system is powered by a total of eight CF10 Class-H amplifiers. The 2-channel models integrate DSP parameters, and preferred room settings have been stored for recall. Finally, eight channels of Sennheiser ew300 G3 wireless handheld and clip-on microphones have been added to enhance flexibility when hosting varied events in the venue. The 35m-deep space required the addition of two ASA 1 wireless antenna distribution systems to boost the signal when required. Having combined dramatic intelligent lighting effects and a full-range line array system into the Grand Ballroom, CST has transformed this creative space, raising it to a new level.

Event organisers can control lighting, video and sound parameters from an iOS tablet interfaced to a Crestron AV3 wireless media processor. ‘The hotel management has to be credited for approving this upgrade,’ says Najib. ‘However, their faith has been repaid and we have had to recruit new members to our AV team. Bookings are up and our clients are giving us glowing reviews.’ The successful installation has not been good news for everyone, though. ‘We very rarely need to hire the local rental companies who previously supplied DJ and live band setups, as we can now comfortably cater for all events,’ he adds. As the Ritz-Carlton, Millenia Singapore continues its AV upgrade programme, CST is poised for a return to the hotel. Time, perhaps, for Fong to celebrate by buying that tuxedo at last. www.concept-systems.com.sg www.ritzcarlton.com/Singapore

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FEATURES: INSTALLATION

Digital platform Constructed in 1893, Waverton station is a heritage-listed building

EDC Acoustics SC-30 speakers provide intelligibility along the platform

A train station in suburban Sydney has a new digital announcement system courtesy of tm stagetec systems. Richard Lawn commutes in WHEN THE DECISION WAS MADE TO REINSTATE STATION announcements at Waverton, an eastern suburb of Sydney, fury from local residents resonated more than the local commuter trains hurtling northwards to Hornsby. Following a deal struck with the transport authorities in 2010, the doubleglazed locals had been spared regular announcements at a station where trains commonly stop every two minutes. They were understandably horriﬁed at the prospect of living with up to 2,000 announcements each day. Having perfected a bespoke audio over IP solution for some 300+ stations within the Sydney Trains and NSW TrainLink network, tm stagetec systems was challenged

to solve the local issues at Waverton. The new digital announcement system needed to inform travellers, while at the same time letting residents go about their lives oblivious to the fact that the 08.11 to Parramatta was about to depart from platform one. ‘Previous tenders for our digital PA system centred around required speech intelligibility for passengers,’ explains tm stagetec systems MD, Treva Head. ‘However, Waverton required a much more sensitive approach, with the emphasis placed more on environmental pollution control of the Digital Voice Announcements [DVAs] including ambient noise control, directional speaker design and time of day switching.’

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tm stagetec’s Mark Lownds and Treva Head

FEATURES: INSTALLATION Based on standard TCP/IP protocols with extremely low latency, Waverton is controlled and monitored from the Central Network Management System (CNMS) via an IP network. The centralisation of voice-based announcements adopts a node-based design that minimises the installation of onsite equipment. The central management system has nodes comprising one or more MF4 matrix frames and under each node the stations fall. Currently, there are around 20 nodes, each handling approximately 20–60 stations. Originally opened in 1893 as Bay Road and renamed Waverton in 1929, this heritage-listed station was not suitable for a scalable cut-and-paste PA design. As is the norm, the DVAs are made in full bandwidth in real-time with less than 2ms delay to the end of the two platforms. The analogue audio signals are firstly sent to a digital PA MF4 TDM communications router before entering a switch over a Layer 2 network and a Dante-enabled Network Amplifier Module (NAM). Each NAM can drive up to four 12W speakers, for which loudspeaker processing can be configured differently according to the station’s bespoke requirements. Also available as an indoor version, the IP66-rated sealed NAM models installed at Waverton are not only able to operate in extremely wet conditions, they can also fully function in direct sunlight by dissipating internal heat. Ambient AKG microphones on both station platforms feed back up to the node incorporating the audio processing. When the PA is in operation, the adoption of echo cancellation algorithms ensures that the microphone picks up the PA, cancels it out of the microphone and provides pure ambient noise. The same system provides for auto-mixing when ambient noise levels rise and the announcements need to become louder, for example when a train arrives. ‘When a train comes in, we can smoothly increase the volume of the announcement in real-time, then turn it back down again when the train leaves,’ explains Head. ‘The same can be done if there are lots of people on the platform, but you don’t really notice it unless you are actually there.’ While the audio levels of the announcements have been reduced – particularly in the evenings – and relevantly zoned, careful attention has also been applied to loudspeaker directivity. The majority of speakers are weatherised TOA CS-154 81 horn models with FIR filtering firing towards the track under the platform roofing. However, the long, curved platforms required a more specialised loudspeaker solution in compliance with both the 2ms delay and restrictive dB spillage. Facing down the platform, two weatherproof EDC Acoustics SC-30 loudspeakers have been installed under the canopy

Two NAM units drive eight TOA CS-154 horn speakers end of each roof to cover the 150m distance down the full length of the platform. The plane array loudspeaker design comes with a unique scaling feature. Its selection at Waverton is fully warranted as the two-dimensional arrays act as a single acoustic point source with variable horizontal and vertical pattern control, while providing coherent summation across the entire audio bandwidth. Specialised algorithms provide full bandwidth power to the three 4-inch LF woofers and 27 LF drivers that are individually powered by 200W and 30W ampliﬁers, respectively. tm stagetec systems engineers worked closely with Sydney Trains audio services manager

Charles Chan and electro acoustic engineer David Connor to configure the two-dimensional arrays of each plane array speaker within the DSP programming software. Also configurable within the Dante domain, a Williams Sound DL207 SYS D induction loop system has been installed into both platforms to provide assistive listening capabilities. Incorporating DSP audio processing, audio override and a pink noise generator, this loop system also provides an option for either local or PC app configuration. Although the majority of announcements originate from the centralised DVA, local live announcements can be made from either a paging panel microphone or a smartphone via a downloaded VCOM app. ‘Should a speaker fail or need replacing, a new model can be installed in its place without needing to recalculate the DSP settings as they are already stored in the CNMS,’ continues Head. ‘For almost 10 years, there were no announcements for passengers using Waverton station,’ adds Chris Walsh, deputy executive director of customer area for Sydney Trains. ‘This had become a bit of an issue for our customers. We’ve worked very closely with the local community to come up with a positive outcome for everyone. The adoption of a digital speaker system provides directionality, minimises noise spillage and zones non-urgent announcements.’ A solution, then, that should keep commuters and local residents alike happy. www.tm-systems.com.au www.transportnsw.info

Ambient microphones and NAMs are located under the roof canopy of each platform

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FEATURES: INSTALLATION

Simulating surgery :WLJPHSPZ[ WHLKPH[YPJ JLU[YL 7LY[O *OPSKYLU»Z /VZWP[HS VɈLYZ [YLH[TLU[ MVY [OL TVZ[ serious cases. James Cooke L_WSVYLZ [OL [LJOUVSVN` PUZPKL P[Z ZPT\SH[PVU Z\P[LZ PERTH CHILDREN’S HOSPITAL OPENED ITS DOORS IN 2018 after years of planning and $1.2 billion (AUS) of state government investment. It has replaced the Princess Margaret Hospital, itself known as Perth Children’s Hospital when it ﬁrst started admitting patients in 1909 as Western Australia’s dedicated paediatric medical facility. It’s vital that doctors and medical professionals at the new hospital are fully trained and well-versed in a multitude of complex scenarios they might encounter, as well as the equipment needed to deal with them. Ongoing training is key and, to enable staff to practise procedures and hone their surgery skills for any given situation, the hospital has been equipped with two simulation suites, each comprising a scenario room, a control room and a debrief room. While allowing medical staff to get to grips with the equipment, these suites also enable training directors to monitor the progress of trainee healthcare professionals using a range of high-ﬁdelity Laerdal simulation manikins. The tender to supply, install and commission AV equipment for the simulation suites and an auditorium at the hospital was awarded to Australian integrator, Rutledge AV. ‘Perth Children’s Hospital contains two main simulation suites in a designated training facility, each intended to replicate different patient environments within the hospital, from operating theatre replicas to fully operational resuscitation bays and patient rooms,’ explains Frank Browne, the project manager at Rutledge AV responsible for delivering the project. ‘Simulation Suite 1 is designed to replicate both a standard patient room and an ICU room. Simulation Suite 2 is a complete working replica of the onsite operating theatres. Attached to both of these suites are control rooms to allow course directors to observe and control scenarios, and a debrief room where live training from either suite can be observed by other trainees as part of the course. Further to this there are two satellite simulation suites located in operational areas of the hospital: one in an emergency

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resuscitation bay and the other in an ICU ward room. Each is equipped with a specially designed control trolley that allows for control equipment to be removed from the room during standard operational use. A ﬁnal simulation trolley allows smaller-scale training to be carried out anywhere within the hospital environment. ‘Course directors control the patient’s reactions via the manikins’ software, allowing them to create sudden changes in the patient’s condition. This allows the trainers to observe how the health professionals handle these situations, and to identify holes in their knowledge and incorrect procedures, enabling them to provide the necessary training to ﬁx these issues.’

The auditorium

The AV setup that Browne and his team delivered in the simulation suites appears to be almost as complex as some of the specialist procedures doctors are trained to carry out in the scenario rooms. However, the complexity of the signal chain employed across each suite has allowed the use of the AV equipment to remain relatively simple, meaning doctors, directors and trainee medical staff can concentrate instead on the complexities presented by a surgical situation. ‘Each suite is kitted out with Crestron-controlled AV systems and includes Sony HD cameras and an Extron SMP 351 recording processor to record training scenarios used for debrieﬁng and quality control,’ continues Browne. ‘The

FEATURES: INSTALLATION Extron SMPs also provide the ability to stream live training to remote invigilators based anywhere within the hospital’s network. Dedicated AV tie lines allow course directors to control the Laerdal manikins via specialised laptops. Static suites include touchscreen monitors from which trainees can interact with replicated patient monitors such as ECG and CO2 monitors created by the control software. BSS Blu100 DSPs control an array of lapel, headset, gooseneck and ceiling mics from Bosch and Australian Monitor, as well as dBTechnologies K70 and Australian Monitor speakers, allowing course directors to communicate with individuals or a group of trainees throughout the scenario, as well as voice actors to recreate patient interaction via the manikins’ internal speakers.’ Integrated Crestron solutions, including RMC3 room media controllers, manage the signal routing for the entire AV setup, providing a seamless experience for both technical and non-technical operators. In addition to the AV equipment, provisions have been made to facilitate a variety of control and signal cabling for the manikins and their controllers.

The auditorium’s control room

Speakers draw on content from a variety of sources As unique as the simulation suites are, Rutledge also made cer tain that Per th Children’s Hospital’s auditorium was equipped with the latest technologies to ensure simplicity and seamless presentations for speakers and audience members alike. The state-of-the-ar t facility seats up to 40 people for staff forums and training lectures, as well as providing a venue for charity events to host the hospital’s benefactors. A main PA system of ceiling-mounted Nexo ID24 speakers and ﬂown IDS-110T subwoofers is controlled via a QSC Q-Sys Core 500i DSP system. Speakers and audience members alike are catered for by a range of Sennheiser lapel, handheld and podium microphones. The Q-Sys Core system also connects with a Polycom video conferencing system, enabling ever yone to hear those joining remotely. ‘Extron SMP recorders allow for the recording of events for future viewing, as well as streaming for viewing of events from within the hospital network,’ continues Browne. Univox PLS-700 hearing loops cater for hard-ofhearing par ticipants.

The auditorium is also equipped with its own dedicated Crestron-controlled AV system that allows presentations to include a visual element to keep audiences engaged. Content from hospital PCs, presenters’ laptops, a fleet of Sony HD cameras and the Polycom video conferencing solutions can be routed to a pair of NEC projectors. Content can also be displayed directly from USB drives, CDs, DVDs and Blu-ray discs, with the audio output to the PA setup. ‘Two control panels allow smaller events to be controlled from within the auditorium, while the secondary control panel located in a dedicated control room allows larger events to be fully controlled via event staff, providing a smooth running,’ explains Browne. ‘The versatile setup of the system allows one or two projectors to be used, while events that do not need visual reinforcement can also be catered for. ‘The auditorium, it would seem, was built without the thought of AV in mind. The space consists of tiered timber panels that stagger along the ceiling, making it difficult to use traditional ceiling speakers for sound reinforcement. The ID24s were used to overcome this. The panels also had to be raised to accommodate a dual projection system that was big enough for persons seated at the back of the space to see the content.’ A pair of overflow areas cater for larger events. ‘Each area can be set up to display unique views of the event or to be utilised as two separate systems, as sides to the main event,’ notes Browne. Simple control of the lighting and audio levels in the auditorium has also been provided from within the room via further Crestron control units. Thanks to the team at Rutledge AV and the marvels of modern technology, medical practitioners at Perth Children’s Hospital are now equipped to deal with the most complex of cases in ways that the doctors of a century ago couldn’t even have dreamed of. www.rutledge.com.au

NE T WORKING COMES OF AGE

Introducing the new M-32 Pro AVB Series

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High-end 32-Channel 192 kHz AD or DA Converter with support of up to +24 dBu line levels - switchable per channel - delivers outstanding performance. RME’s newly developed AVB Core guarantees ﬁxed latencies & bandwidth across a network. Extensive Remote Control functionality and an unrivaled visual feedback system make this product a perfect ﬁt for spatial audio, multichannel analog applications and Hi-Res production.

Intuitive user interface

1GigE native AVB support

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Separate MADI & Word Clock I/O

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MADI <-> AVB conversion

Corporate Headquarters Asia / Australia: RME Trading Ltd. office@rme-trading.hk · www.rme-audio.com

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FEATURES: RECORDING

Open communication

Main control room with Genelec 5.1 system

A new Genelec 5.1 studio at the Communication University of China is enhancing study options for professors and students alike. Caroline Moss visits ASK A CROSS-SECTION OF YOUNG, TALENTED PEOPLE employed in Beijing’s pro audio and broadcast industries about their alma mater, and the Communication University of China (CUC) is bound to come up. For decades, the institute has been preparing its students for life in the real world, to the benefit of media industries across the country. The university started life in 1954 as a training centre for the Central Broadcasting Bureau before becoming the Beijing Broadcasting Institute five years later. In 2004, the State Council of the People’s Republic of China approved its renaming to the Communication University of China as it developed into an institute of higher learning. Major academic disciplines include broadcasting, film production, journalism, drama, animation, advertising, newscasting, creative cultural industry, communications engineering, foreign languages, management and media law education, and it has gone on to become one of China’s top public universities. A former graduate of the university is Feng Hanying, today national director of Beijing Genelec Audio, who completed both a bachelor’s degree in sound engineering and a master’s degree in recording arts there. On leaving the university, Feng went to work at the National Grand Theatre, now the National Centre for Performing Arts, before joining Genelec in 2011. But his first contact with the brand was a decade before that, in a class given by Dr Jue Wang, today professor of the school of music and recording arts at CUC. The teaching studio had been installed in the late 1990s with an analogue TASCAM console and a pair of Genelec 1037s, and a student enquired about the speaker brand. ‘Dr Wang replied that they were the best loudspeakers in the world,’ recalls Feng. ‘I found the name a bit difficult to spell and to pronounce, and I also noticed they were from Finland. I wouldn’t have believed I’d be working for them in the future.’

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CUC’s Yang Jie and Dr Jue Wang; Genelec’s Feng Hanying Back then, this older studio – still in operation today – was being used exclusively for sound engineering courses. However, a new purpose-built studio, twice the size of the old one, has also been installed with Genelec monitors, this time a 5.1 system comprised of 1238A Smart Active Monitoring (SAM) speakers with DSP processing and a 7370A subwoofer. ‘Genelec is pretty famous in our industry in China; you can see them everywhere,’ continues Wang, a gently spoken woman who is also an alumni of the university, and is clearly held in high regard by her former students. ‘I interned at CCTV, and also at China Record Company which still has a

pair of 1038s that are believed to be part of the ﬁrst batch of Genelecs to arrive in China in the 1980s.’ So it made sense that the university again selected the brand for its new room. ‘The audio characteristics of the new digital speakers are very consistent with the original analogue series,’ says Yang Jie, vice-dean of the experimental centre at the school of music and recording arts at the university, and another former CUC alumni who also studied with Wang. ‘They’ve managed to retain that sound quality while adding new features. We’ve been able to use the DSP settings in the speakers to

BUSINESS: &203$1< 352),/( FEATURES: RECORDING

Spacious live recording area compensate for any acoustic challenges the construction of the room threw up, and to correct the frequency responses.’ The studio also boasts a spacious 180m2 live room, which has been installed with a pair of Genelec 8030 studio monitors. In a nod to the university’s integrity, the new facilities haven’t resulted in either an additional intake of students, nor an increase in classes. ‘We haven’t done that; we focus on the students and courses we have and create new experiences,’ explains Wang. ‘For example, in this recording studio, we have a reverberation time of around 1s, whereas the older studio is just 0.3s or 0.4s; it’s really dry. So students can learn how to control microphones in this new environment, with more reverb. They can work on more exciting projects and, as for classes, we can now cover subjects such as surround technology and carry out more critical listening.’ Other subjects taught in the new studio include the basics of an audio system and classical music recording, and it’s also available to students for their own practice and projects, often in conjunction with student musicians, bands and orchestras. And international industry veterans, including US record producer/engineer Tony Maserati, not to mention Feng himself, have given lectures and masterclasses on subjects such as sound reinforcement, ﬁlm recording and music technology in the new room. Other equipment in the new studio includes an Avid S3 control sur face plus a good selection of classic outboard equipment including a Universal Audio 4-710d 4-channel mic preamp, API 3124 4-channel mic preamp, Grace Design m906 5.1 reference monitor controller, Lexicon PCM96, Crane Song STC-8 compressor/ limiter, Eventide H3000-D/SX ultraharmoniser, TC Electronic TC 2290 dynamic digital delay and Apogee Symphony I/O multichannel A/D and D/A converter, plus a MADI inter face transferred from the older studio. ‘We moved some of the equipment over from there as well as adding new models,’ explains Wang. ‘When I arrived here in 2000, the hardware was limited,’ recalls Feng. ‘Today there is an improvement, but there are still limitations. However, the teachers are so talented that they have always been able to use the equipment creatively and efﬁciently to offer a lot of different courses. They’ve created the chance for the students to practise their mixing and recording skills, and that is very precious.’

Genelec is the monitoring brand of choice at CUC Three different modules are on offer today, one of which is the fundamentals of sound systems, which introduces the equipment, how it works and how to connect it. ‘That’s the ﬁrst class Feng took with me,’ says Wang. ‘I get students to draw a picture of the entire signal chain with all the equipment. Before this course, they will also have taken some basic courses in acoustics and electronics, and we also offer basic courses in music, chords, composition and orchestration. ‘The next module covers stereo and surround technology, critical listening, digital audio technology and audio measurements. Then we move to the higher one, which is creative and teaches pop music recording, classical music recording, recording for ﬁlm and television and sound reinforcement. We are working in three distinct areas: music, visual media and performance.’ There is no doubt that CUC is a groundbreaking university, as its alumni across the industry can testify. The fact that Wang has remained committed to her former alma mater, not to mention the ongoing roll call of students, decades after completing her own education, is also a glowing reference. ‘The students are wonderful; we have some really talented people here,’ she says, modestly. ‘This year we had more than 1,300 applicants and we can take only 50.’ Such dedication to maintaining a high and consistent standard of teaching to facilitate the next generation of talented professionals is surely the key to the ongoing development of the industry in China.

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Januar y–Februar y 2019 PRO AVL ASIA 107

FEATURES: INSTALLATION

Dual touchscreens in classrooms can be accessed centrally over the network as well as locally in BYOD mode

ESCO’s Amit Palekar, Aye Min and Alan Oliveiro and GIIS’ Nigil Antony in the performance auditorium control room

Tannoy VX15Q and motorised projection equipment in a multi-purpose sports hall

School of the future

Merging two existing locations into one, the Global Indian International School has built the GIIS Smart Campus. Thomas Mittelmann learns more WITH PRIVATE INTERNATIONAL SCHOOLS IN JAPAN, THE UAE, India, Malaysia, Thailand, Vietnam and Singapore, the Global Indian International School (GIIS) is well-versed in the ﬁeld of global education. Now, a new campus built from scratch in Singapore – which boasts one of the world’s highest-ranking education systems – has replaced two of the ﬁve existing facilities at different locations across town with a single, modern and smart centre for NextGen Learning. Naturally, AV technology is crucial for achieving such an ambitious goal, and this presented an opportunity to equip a new construction rather than upgrade dated premises. After successful completion of a previous GIIS project in Abu Dhabi, Bangalore-based T2 Consulting was again tasked with handling AV for the new Singapore campus, with local systems integrator ESCO installing and commissioning the project. ‘In addition to our references, I think we impressed the client and T2 with our commitment to assign a dedicated, well-experienced team to the project, and with our constructive input on potential optimisations,’ recalls ESCO’s general manager, Christopher Lim. The building consists of two slightly curved blocks with six and seven storeys, respectively, connected by catering and event spaces on one end and a glass-encased footbridge

108 PRO AVL ASIA Januar y–Februar y 2019

on the other. Beyond the visitor centre at the entrance, it provides 90 classrooms, science labs, music and arts rooms, plus multiple indoor sports facilities and auditoriums and a number of open learning spaces for more than 3,000 students, educators and staff. For all data, a ﬁbre-based 40Gbit/s LAN was installed throughout the entire campus with connectivity for over 6,500 wired devices, in addition to 250 Wi-Fi access points. This provides teachers and students with highspeed internet as well as broadcasting the exact time and school bell, playing an important role in security as well as building management and energy control, and delivering digital signage to hundreds of displays. With several Biamp AudiaFLEX, Nexia and TesiraFORTÉ DSPs at its core, the system transports audio by means of CobraNet. ‘It’s not the typical AV network; it’s a very complex, IT-driven coexistence of AV with many other clusters of data,’ says Amit Palekar, vice president of sales at ESCO. ‘The variety and number of services running on the network requires it to be highly advanced,’ conﬁrms Alan Oliveiro, ESCO’s technical support manager, solution delivery, who oversaw the AV installation. ‘For instance, teachers register their attendance through a facial recognition system, which

takes up a lot of bandwidth, while some services, like the IP clock providing the exact same time all over the campus, caused compatibility issues.’ Indeed, some problems prevented CobraNet from working during installation. ‘It took us a while and the help of some IT experts to ﬁnd the reason,’ says Oliveiro. ‘All network switches here are Layer 3 while CobraNet uses Layer 2, meaning you have to keep things separate and not mix them. We managed to get around it by utilising a virtual LAN (VLAN) exclusively for CobraNet, keeping it free from any other trafﬁc.’ Each of the classrooms, science labs and open learning spaces, some with capacity for up to 40 students, is equipped with two individually accessible IQTouch 65- or 75-inch touchscreens and its own small audio system including Kramer Galil 6.5-inch wall-mount and ceiling speakers. ‘Teachers have wireless Audio-Technica microphones and an iPad Pro, and there’s an Apple TV in each classroom,’ explains Oliveiro. ‘So, the audio equipment is for reinforcement of the teacher’s voice as well as media playback, eventually also from the students’ own devices, and, of course, central paging and the school bell.’ Each classroom AV system can be controlled locally via a separate touch panel, as well as from a central server,

FEATURES: INSTALLATION to power them off remotely or, with the Biamp system, to override the teachers. The system is coupled with the ďŹ re alarm and can display and sound emergency messages or other important information. Music, speech and drama rooms contain additional portable sound systems. Simplicity is key for the users, yet it takes the teachers some getting used to, according to Nigil Antony, manager, audio visual and campus IT of GIIS. â&#x20AC;&#x2DC;Sometimes weâ&#x20AC;&#x2122;re getting the call â&#x20AC;&#x153;nothing is workingâ&#x20AC;?, only to ďŹ nd itâ&#x20AC;&#x2122;s due to the user. So, training the teachers is essential.â&#x20AC;&#x2122; All corridors are lined with Bose FreeSpace DS 16F ceiling speakers for paging. â&#x20AC;&#x2DC;Initially they were all to be powered from a central ampliďŹ er location,â&#x20AC;&#x2122; reports Palekar, â&#x20AC;&#x2DC;but we were able to replace this and the long speaker wiring with one ampliďŹ er located on each ďŹ&#x201A;oor. We now have the beneďŹ t of 13 individually addressable zones on their own VLAN while staying within budget.â&#x20AC;&#x2122; Large multi-purpose gymnasiums are available for physical and other activities and equipped with Kramer ceiling speakers and Biamp Vocia paging stations. The largest is a multi-purpose hall featuring a 278-inch Draper Ultimate Access XL screen and a 12,000-lumen Epson EB-G5150 projector which, being motorised, can both disappear into the ceiling when not in use. Audio, via playback or beyerdynamic wireless microphones, is dispersed by a pair of Tannoy VX15Q full-range speakers. A lecture hall seating over 100 students offers video projection via an NEC NP-502 and a pair of Panasonic displays, as well as wall-mounted Tannoy VX 8.2 speakers in addition to the Kramer ceiling speakers. The jewel in the crown of the GIIS campus, however, is the multi-purpose performance auditorium, which can be used with a stage and 700 retractable seats for performances and presentations, as well as sports such as basketball and badminton. On the stage, which is ďŹ&#x201A;anked by four JBL VRX932 constant curvature line array modules and an SRX728S dual 18-inch subwoofer per side, a curved CreateLED AirMAG-3 16.5 x

all displays show the bus timetable along with directions, so students make it home safely. â&#x20AC;&#x2DC;School management is very much concerned about the kidsâ&#x20AC;&#x2122; transportation, and digital signage is playing a crucial role,â&#x20AC;&#x2122; explains Oliveiro. â&#x20AC;&#x2DC;The data is fed from a web server, and a user interface was developed for the bus coordinators to communicate when and from where a bus leaves.â&#x20AC;&#x2122;

The performance auditorium features a large curved LED wall and 700 retractable seats 3m LED wall â&#x20AC;&#x201C; according to GIIS the largest in a South East Asian school â&#x20AC;&#x201C; has been installed for presentation display or performance backdrop. Five Panasonic AW-UE70 PTZ 4K cameras with remotely controlled pan/tilt/zoom mounted around the auditorium can capture any activity in the room. Video and audio feeds are managed in a control room behind the audience, with a DataVideo switcher, Crestron touch panels and a Soundcraft Si Expression console among the key equipment. The feeds can be recorded, sent to the LED wall and loudspeakers in the auditorium as well as to any location on the campus, and streamed over the internet or to OB vans. Grouped in zones, a large number of Kramer ceiling speakers and JBL and Tannoy surface-mount speakers are distributed throughout areas such as the visitor centre, event spaces, student canteens and catering spots. Digital signage is provided by around 200 Panasonic displays ranging from 32 to 75 inches in size, accessible locally and from a central server. Server and software set up were carried out in close conjunction with Panasonic. The system is highly automated, based on pre-programmed routines to minimise manual control and maintenance. For instance, at the end of the day,

Displays and ceiling-mounted speakers in a student canteen â&#x20AC;&#x2DC;We were already busy on site while the building was still under construction, and this early involvement proved invaluable,â&#x20AC;&#x2122; recalls Palekar. â&#x20AC;&#x2DC;Considering the complexity of the systems, plus the fact that the initial design was already three years old and some products were not available anymore, we were able to contribute to the success of the project by introducing alternatives and even improve the experience.â&#x20AC;&#x2122; And with future expansion of the campus already in the planning stage, the experience at GIIS Smart Campus is in line for even more improvement. www.esco.com.sg www.globalindianschool.org www.schoolofthefuture.sg www.t2consulting.co.in

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Januar yâ&#x20AC;&#x201C;Februar y 2019 PRO AVL ASIA 109

FEATURES: RECORDING

Tom Misner in Control Room 1 Image courtesy of Jochen Veith

Back to life

At 92 years of age, Sydney’s Studios 301 has been relocated and regenerated under the guidance of its owner. Richard Lawn visits the Sydney icon

THE EXTERIOR OF 3 ELLIS AVENUE, AN INDUSTRIAL cul-de-sac in downtown Alexandria, provides absolutely no clue as to what lies within. However, an abundant energy and warmth is evident upon stepping inside. From the reception area onwards, Studios 301 betrays its façade as musicians, technicians and engineers go about their daily business. The sense of history is overwhelming as numerous gold and platinum albums recorded at 301 over the years vie for attention among vintage Studer tape machines and vinyl era relics. Ellis Avenue is the new home of Australia’s longest-running professional recording studio, which has been offline for over a year. A forced relocation heralded a multi-milliondollar, 134,000-hour reconstruction project and Studios 301 is now ready for its next phase. Since its foundation in 1926 under the Columbia Graphophone Company, Studios 301 has moved on a number of occasions from the original site in Homebush. In Castlereagh Street, where it became part of EMI Studios in 1954, the studio took on the name of its street number, undergoing a total refit in 1978. It would be another two decades, however, before producer and engineer Tom Misner took ownership. Under his initial management and part of the SAE Institute founded by Misner in 1976, 301 was relocated and rebuilt at a plot on Mitchell Road in the suburb of Alexandria. As befitting Australia’s only world-class studio, Abbey Road engineers Richard Lush and Martin Benge arrived from London to oversee the day-to-day running of the facility. The SAE Group was sold in 2011. ‘The fact was, I was spending 90% of my time making 10% of my income back then,’ recalls Misner. The successful property magnate could not part with 301, however. Not only does he regard it as the

110 PRO AVL ASIA Januar y–Februar y 2019

The history of Studios 301 is apparent on entering the reception of the former confectionery factory Image courtesy of Thierry Boudan

jewel in his crown, it remains his burning passion. The forced relocation would severely test most wealthy benefactors possessing ﬁscal awareness, but Misner regards the current $12 million (AUS) investment into Studios 301 as his way of giving something back to the community that made him the man he is today. Boasting four recording/mixing rooms, three mastering studios, four preproduction rooms, two digitisation suites and a creative hub, the newly transformed complex has many more outward-facing offerings than the previous location. Designed by Monaco resident Misner together with renowned architect and acoustician Jochen Veith from JV Acoustics, Studios 301 may not be the most prudent investment for the entrepreneur who also bought AMS Neve in 2005, but it

will certainly keep him youthful and energetic for many years to come. And it retains its position as Australia’s leading recording facility. Misner’s enthusiasm and knowledge of the recording industry is infectious to those around him, from new recruit and general manager Ron Haryanto to technical veteran Steve Crane, who has 30+ years in the business. Indeed, during Pro AVL Asia’s early morning visit, the entire team – bar Crane and Haryanto – are either recovering from the busiest week to date or working in their respective studio environments. ‘The current setup is a much better-quality build and we have raised the standards immeasurably,’ assesses Crane. Part of the Neve team during Misner’s ownership, this current chapter has reinvigorated the energy levels of the 63-yearold sipping a coffee in the cafeteria area prior to beginning his hectic daily schedule. ‘I can’t thank Tom enough for supporting 301’s lifeline,’ he continues. ‘While we’ve always possessed great gear at 301, the rebuild has given us the chance to renew our kit, spending $750k on equipment upgrades alone. We ﬁxed everything over the course of the last 12 months, so that if an engineer sees a piece of equipment that he wishes to use, it works. That’s down to the technical team here.’ Having started his career in New Zealand, Crane left his native Wellington for Air Studios in the UK and Montserrat. ‘I love working with the younger guys although I never look at them as being younger … and, at the same time, I hope they don’t look at me as being old. I’m as enthusiastic as I was when I ﬁrst started, and feel at home. For the year that 301 was down, I returned to New Zealand and assisted in the build of Massey University’s music school, itself a major development and hugely satisfying. In 301 we’ve created

FEATURES: RECORDING

Control Room 1 Image courtesy of Jochen Veith something special that we are rightly proud of. We’ve received tremendous support and positive feedback from the clientele and industry at large.’ Misner claims to have had a hand in building over 200 studios during his illustrious career, but it’s likely that none of the others have received such personal input as the new studios. After signing the lease of the former confectionery factory, he immersed himself in all things 301. Sketches of rough layouts and schematics on the backs of envelopes would be shufﬂed between Misner and Veith. ‘The acoustics are at another level all the way through,’ explains Crane. ‘A studio can have all the appropriate spaces, and swathes of ﬂash analogue gear, but it’s all worthless if the rooms sound trash.’ Having worked with the likes of Florian Schneider from Kraftwerk and Florian Opahle from Jethro Tull, Veith has duly delivered on his promise to deliver a world-class acoustic environment.

Control Room 2 has a 48-channel SSL 9000 K console Image courtesy of Jochen Veith

The spacious Studio 1 and its Yamaha C7 grand piano Image courtesy of Daniel Linnet

Long before any mastering and mixing could go ahead, 39,000 concrete blocks delivered by 65 trucks were cemented into place, mounted with 3,500 sheets of marine plywood to create the shell of 3 Ellis Avenue. Initial concerns regarding overhead flights and busy road traffic in an industrial area were eventually overcome. From the foundations up, 301 is sound. The concrete base slab was built to withstand trucks entering, with concrete block interior walls chosen over plasterboard. The structure is isolated from the floor, ensuring that the vast air-conditioning system – racking up over $1.6 million of spend on its own – was not interwoven into the architectural fabric. Finally, floating floors were inserted into each concrete shell to ensure acoustic isolation before being set to very low frequencies using a measurement microphone. The whole approach was scientifically conducted in minute detail in the knowledge that the concrete could not be dug up at a later stage. Following the main construction, Veith precisely tuned each unique room according to its materials and dimensions. For example, the front wall of the 51m2 Control Room 1 is completely solid, requiring the rear wall to undergo a lot of treatment to compensate. Helmholtz resonators were

inserted into the corners and tuned between 25–50Hz onsite together, while further broadband low-frequency absorption was added. Helmafuzers provide another unique detail. These high-frequency diffusors with holes in between the sheets have been inserted into the rear wall. Heavy foil resonators were then added in addition to other low-frequency absorbers above the windows on both sides of the room. In total, 220 specialty absorbers were built onsite to create reflection-free zones. Finally, reference CDs were played to precisely tune the stereo imaging and low-end frequencies. Veith is a believer that the speaker and the room should work as one. Given his longstanding relationship with PMC, a decision was made early on to equip all the studios with the UK monitor brand. QB1-A speakers have been soffit-mounted into the front wall of Control Room 1 to create a detailed stereo image from the front. The centrepiece of the spacious 51m2 control room is a 72-channel Neve 88R console, which had to be dismantled offsite and rebuilt in situ to fit into its new home. No such problems with the newly serviced Fairchild 670, Urei compressors, Pultec equalisers, LA2As and other classic outboard equipment. A number of Australian-made Duntech Sovereign speakers survived the relocation process. However, Control Rooms 2 and 3 and Mastering Rooms 2 and 3 are now equipped with free-standing PMC MB3 XBD-A systems. Control Room 3 has a 5.1 surround setup that incorporates stereo XBD-A models with an MB3-A centre and MB2S rear passives. All the other MB3 XBD-A configurations are in a stereo setup. An inventory of twotwo.6 nearfields have been added in the other mixing and production facilities, including the 20m2 Studio 4 presided over by vocal producer Simon Cohen, with its Neve Custom Series 75 board – itself a Studios 301 design. ‘I chose the QB1-A monitors for our main studio as they are the best on the market, especially when they are installed in a room designed for the speakers rather than trying to fit

the speakers to the existing acoustics of the room,’ explains Misner. ‘The MB3 monitors were the only ones that I could find that were sufficiently versatile for recording, mixing and mastering. My main criterium was to use the same monitors throughout, regardless of size.’ Measuring 180m2 and attached to Studio 1, the live room and its two large isolation booths can accommodate a 60-piece orchestra. One of the booths is home to a Yamaha C7 grand piano if separation is required. Should the reverb time of the parquet floor space not be suitable for some clients, Studios 301 can offer several smaller live rooms. Control Room 2, which has an adjoining 27.5m2 live space divided into three booths, is home to the 48-channel SSL 9000 K console owned by the studio since 2004. Once again, the classics installed into the racks have been lovingly restored, including eight channels of Neve 1084 strips. The surround postproduction suite – or Control Room 3 – features monitoring controlled by an Avid S6 control surface and Avid MTRX system. This control room is acoustically identical to Control Room 2, while an adjacent 21m2 live room exists primarily for voiceovers, ADR and foley sessions. Located adjacent to the foyer, Studios 6, 7 and 8 are being marketed as production suites for long-term hire. Finally, two of the mastering studios located on the back wall are home to senior mastering engineers Steve Smart and Leon Zervos, while the third is shared between Andrew Edgson, Ben Feggans and Harvey O’Sullivan. Supplier Videocraft was called upon to provide and install an extensive Avid Pro Tools system throughout the facility, including the S6 modular control surface in Control Room 3. Additionally, 64 and 48 channels of analogue I/O cater for the respective Neve and SSL desks. Studio 3 benefits from an S6 M40 surface in a fully populated 1.5m frame, further equipped with a master joystick module for surround

Januar y–Februar y 2019 PRO AVL ASIA 111

FEATURES: RECORDING panning. A Pro Tools backbone exists in all the studios, including HDX2 cards in a Sonnet Echo Express chassis with Apogee Symphony Mk II interfaces handling the AD/DA conversion. The Sync HDs act as loop sync masters and communicate with the automation computers of the analogue consoles while being fed word clock from Antelope 2 Master Clocks. An API 1608 was recently added to enhance the analogue recording credentials of this studio. Despite its forced absence, Studios 301 is now picking up the pace, as clients new and old return. ‘We’re slowly coming back to life,’ explains Haryanto. ‘It has a heartbeat once again, so this represents a new start. We were closed for 15 months and many bookings and clients had to go elsewhere. However, during the downtime, we were able to create a new identity. It’s not just a facelift that you see here – the premises have changed and so has the team. While we may be regarded as the centre of all Australian music production, we’re not living in an ivory tower and what we have done here means nothing unless we are the active centre of the Australian music community. We may welcome international artists, but we do not want to portray ourselves as an exclusive studio facility.’

Neve 88R in Control Room 1 Image courtesy of Jochen Veith

Mastering Room 3 with a free-standing PMC system Image courtesy of Daniel Linnet

Control Room 5 Image courtesy of Jochen Veith

As an artist and songwriter from Newcastle, UK, Haryanto can easily immerse himself into the role of the client. ‘I often think: how do I create an access point for other artists like me? In my mind, I feel I have to entice others to the facility who, like me, may be intimidated by its size and reputation. Traditionally, our focus has been the higher end of the market, but we are really driving on bringing creative initiatives and newer artists here.’ If Haryanto’s vision can draw a diverse client base, then 301 may not have to rely on Misner’s generosity. Heralding from Milan, assistant engineer Jack Garzonio came to 301 with extensive studio experience in addition to monitor engineering for artists including Liza Minnelli and Gloria Gaynor. ‘I’ve worked in studios before, but nowhere as big or exciting,’ says Garzonio, who was part of the team that built the studio, running more than 40km of analogue and digital cables. ‘The old place had miles of analogue ties that allowed us to record from different live spaces into each studio, but also having AES ties has future-proofed the new facilities.’ Garzonio saw the studios come to life on a last-minute booking for Katy Perry, which saw the US artist and her band rehearse before laying down new tracks with Australian producer, MXXWLL. ‘They were some of the best musicians I’ve worked with and, when everything came together, it was magic. When you’re running the cables in, it’s an empty shell, but as soon as an artist comes in and performs, it’s a different place. I have witnessed a great transformation taking

Surround sound postproduction in Control Room 3 Image courtesy of Jochen Veith

112 PRO AVL ASIA Januar y–Februar y 2019

place on this journey. When amazing musicians are at work and you are an observer, there is no better experience.’ Freed from previous pressures, Misner is enjoying his pilgrimage to the new 301 from his home in Monaco and is also overseeing construction of a holiday residence in Byron Bay. ‘With the benefit of visits for key milestones, calls, texts and emails, Tom has provided constant guidance and direction,’ says Haryanto. ‘We weren’t quite sure how things would work out, although Tom had a master plan and vision with regards to the aesthetics and the design. It was amazing in the final week watching it all come to life under his watchful eye and direction. Even on the day before the official opening in March last year, as a finishing touch, he scattered red carpet tiles around the facility, telling us precisely: “that’s where these should go” to break up the black tiles.’ With all the carpet tiles now firmly in the right place, Studios 301’s new incarnation looks set to continue its unbeatable run down under. Good news, then, not just for the local market but for the global recording community beyond. www.ams.neve.com www.avid.com www.pmc-speakers.com www.solidstatelogic.com www.studios301.com www.videocraft.com.au

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FEATURES: RECORDING

Cassette recorder A long-held desire to create a British-style recording environment in suburban Mumbai has come to fruition. Caroline Moss visits MUSICIAN AND ENGINEER JIMMY JOY CAN ATTRIBUTE THE success of his new recording studio, Blue Cassette, in part to his ability to listen to expert advice. His 230m2 facility in Thane, to the northeast of Mumbai, was almost complete, but it wasn’t quite meeting his expectations. So Joy called in the services of Munro Acoustics India to see if his doubts were justified. ‘We did an acoustic survey of the place and identified problems in the rooms that had already been constructed,’ explains Joy. It was at this stage that he took the brave decision to revamp the facility to the required acoustical standards. A classically trained musician who studied at A R Rahman’s KM Music Conservatory in Chennai, Joy has funded the studio himself through profits from the nearby café he runs with his brother. Inspired by bands such as the Beatles and Coldplay, he wanted to set up a studio where he could create a ‘British’ analogue sound, evidenced by his choice of recording equipment, including an SSL mixing console and ATC and PMC monitoring. ‘Jimmy is a talented musician, and understands about engineering,’ says Munro India director, Kapil Thirwani, taking up the story. ‘As he’s up in Thane, which is some distance out of Mumbai, he needed to be able to attract clients and was conscious it had to be good. The walls had already been built, and I came along and advised them to strip it back to a shell and do it properly. I wasn’t sure he would do that; I wasn’t sure I would have done that! A lot of time and money had already been involved. But I suggested that we start by just addressing the big room first, so he could see what we could do, and he went away and thought about it.’ The room Thirwani refers to is a 33m2 live room that can be used as space for jamming or rehearsals in addition to recordings. This was the only room that didn’t share

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Jimmy Joy and Munro Acoustics’ Kapil Thirwani walls with any of the other spaces. ‘We started work on that, getting our carpenters in to do some joinery work,’ he continues. ‘We hadn’t even ﬁnished when Jimmy said, “OK go ahead and do the other rooms”. We broke down all the walls and started working on the shape of the different spaces, starting with getting the footprint of the control room right and designing the whole facility from scratch.’ The design project was a refreshing change for Thirwani, who has worked on many smaller studios in Mumbai, where space is at a premium. ‘Studios have been shrinking

in size, but now there is a return to the bigger facility,’ he explains. ‘This isn’t really happening so much down in Mumbai because of the cost of real estate; here in Thane it’s cheaper, and more space is available.’ As much material as possible was reused when the original studios were ripped down. This included the wood panelling that previously lined the studio walls, which has been repurposed as window seats and ceiling baffles. Other existing materials went into building the isolation shell, and all of the doors have been reused. Once the construction work was complete, Andy Munro travelled to India to personally calibrate the central control room, which forms the heart of the facility. This has been installed with an SSL AWS 924 delta desk, ATC SCM110ASL Pro main monitors and PMC twotwo.5 nearfields. Other equipment includes an Antelope Goliath HD 64-channel inter face, an SSL X-Rack and a vast array of mic preamps, compressors and EQ equipment including Rupert Neve Designs Portico II, 511, 517, 551 and 543 units, a Chandler TG2500 and Little Devil, an API 512c and 529, a Shadow Hills Mono Gama and Dual Vandergraph, an Elysia xpressor, a Bettermaker EQ 232P MKII, a Tegeler Audio Schwerkraftmaschine, a Thermionic Culture Earlybird and Culture Vulture, a Manley Slam and a Bricasti M7, plus a Hear Back Octo personal monitoring system. Although smaller SSL control sur faces such as the X-Desk are popular in India, the AWS 924 delta is one of the first large-format consoles to be installed there in recent times. ‘I did some research into what bands use in the UK, and found out about SSL,’ says Joy. ‘It’s warm, has a lot of characteristics and is an easy console to operate compared to other analogue boards.’ On the day Pro AVL Asia visited, SSL product specialist, Alex Gidman, was conducting a training session on the AWS 924 delta with a large group of engineers.

FEATURES: RECORDING Blue Cassette’s live room can also be used for recording, having been installed with an Allen & Heath ZED-R16 console with Universal Audio Apollo 8p interface and Focal Alpha 80 studio monitors, while a small music production/ video editing room was also created in the reconstruction. ‘Since all bands want to come up with a music video, we needed to have a facility that fulﬁlls this,’ says Joy, who has equipped the room with an Apple Mac Pro running Pro Tools, Final Cut Pro and Logic Pro software, an Arturia AudioFuse interface and Yamaha HS7 active monitors along with a Universal Audio Apollo Satellite Quad effects processor. All three recording spaces are interconnected to allow simultaneous recording sessions to take place. ‘We have Joy (seated left) at the SSL training conducted by Alex Gidman

Music and video production room

installed patch bays which help a lot with routing the signals in and out of the control room to the other rooms,’ Joy explains. ‘Blue Cassette is designed to be as userfriendly for engineers and musicians as possible. We can quickly and easily change the audio path to cater to the requirements of each particular session.’ This ﬂexibility is in line with Joy’s intention to create a sociable environment where musicians can network and socialise as well as work on their projects. ‘Bands are coming in to jam and record, with artists working on concurrent projects sometimes getting together for a spontaneous jam session,’ he continues. ‘We also have music listening and appreciation sessions where people come in and explain about their favourite songs, to offer insight and educate fellow musicians.’ Six months after he opened his dream facility, Joy is convinced he did the right thing by starting again with the studio construction. ‘I never imagined it would happen this fast; we have been busy every day,’ he says. ‘Talented musicians come here to record and jam, and it’s always exciting, as well as being an ongoing challenge for us to deal with. Keeping in mind the ﬂexibility of the studio, it’s

working really well. We are able to host multiple sessions smoothly without any constraints or hassles.’ All of which goes to prove it’s worth doing things properly, even if that means having the conviction to go back to square one and start all over again. www.atcloudspeakers.co.uk www.bluecassettestudios.com www.munro.co.uk www.solidstatelogic.com

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Januar y–Februar y 2019 PRO AVL ASIA 115

BUSINESS: COMPANY PROFILE

Ideal timing With headquarters in Hong Kong and branches around APAC, broadcast specialist Ideal Systems is well placed to diversify into the region’s booming AV market. Caroline Moss investigates FOUNDED IN DUBLIN IN 1989 BY JIM BUTLER TO BUILD recording studios, Ideal Systems quickly saw the potential of the Asian market. Just two years later, the company had opened an ofﬁce in Hong Kong, moving closer to a broadcast industry in Asia that was getting ready to enter the digital age. By the 1990s, new digital satellite channels in the region were beginning extensive expansion programmes as the industry moved away from analogue. Fast-forward almost three decades and Ideal has an employee count of 160, with ofﬁces in eight APAC countries – China, India, Japan, Singapore, Taiwan, Thailand, Indonesia and Malaysia – plus one in the UAE. Today, its clients include not just established names in broadcast, but the corporate AV market as well. In Hong Kong, that has already included the Ta Kung Wen Wei Media Group, Point72 Asset Management and the South China Morning Post. Heading up this relatively new division is Jason Rouzaire, who joined in 2016, bringing 25 years of AV integration experience with him. Starting off in his homeland of Australia, he worked in residential AV before moving to the

The Ideal team in the Hong Kong ofﬁce. Founder Jim Butler is second from the right

Boardroom at the Ta Kung Wen Wei Media Group with audio and video conferencing, speaker tracking, IPTV feeds, a 5.1 system and retractable display

corporate sector in 1999, spending three years working for Almoe AV Systems in the UAE before heading to Hong Kong seven years ago. He’s been joined by David King, head of AV design engineering, who was initially transferred from Chicago to the Hong Kong ofﬁce of global AV and acoustic consultancy SM&W, working on projects across the region including Hong Kong University’s campus expansion, the Ritz-Carlton and Ocean Park oceanarium and theme park in Hong Kong, the St Regis in Bangkok and the Wynn Palace in Macau.

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Rouzaire’s connection with Ideal was originally from the client side when he was employed in Hong Kong by Morgan Stanley. ‘Ideal was a contractor for Morgan Stanley; I developed a working relationship with one of the contractors and I suggested they should get into AV someday,’ he recalls. This led to an introduction to Jim Butler, and the pair kept in touch for a few years. ‘As time went on, things got more serious,’ he continues. ‘I was looking for a career change, and they’d been dabbling in AV, really by way of being in the right place at the right time.’

BUSINESS: COMPANY PROFILE As more and more enquiries came in, however, the management team at Ideal started to perceive a gap in the market. ‘In 2016, we decided to push ahead and that I would come onboard. The ﬁrst person I contacted was David, he was in the right place at the right time as well, so it was great timing for everyone.’ With two experienced team members in place, Rouzaire and King started to bring the new division together, working with the company’s existing systems integration staff and engineers. ‘A lot of them were already familiar with AV from their work in the broadcast sector, so it wasn’t a totally new thing,’ says Rouzaire. ‘We’ve been taking on more people organically as the work comes in.’ So far, this has numbered more than 25 new employees. Ideal now offers end-to-end solutions for both broadcast and AV clients. The broadcast side of the company, which has

Dedicated broadcast studio news desk at the Ta Kung Wen Wei Media Group with robotic camera and chromakey

Ideal’s Jason Rouzaire and David King

built infrastructure for thousands of TV channels as well as more than 100 TV studios, has now expanded into building OTT solutions and OB trucks as well as providing IP, 4K, 8K and cloud solutions. It also recently launched Ideal Live, its live broadcast and production division. On the AV side, the new division can draw on the company’s existing expertise in areas such as software, Cloud and interior design to provide holistic solutions. ‘The technology in broadcast and AV seems to be slowly overlapping, especially in the banking industry,’ says King. ‘We got into some of this work because of Ideal’s experience in the banking sector. Some of the banks we work with have had little studios for in-house broadcast for some time.’ Ideal’s AV division has set itself up to provide services across the board, starting with a thorough brieﬁng process to assess clients’ requirements before proceeding to the design stage. Once the bid has been successful, the team will focus on project management and the entire installation process, providing a set of documents, manuals and drawings once complete as well as training staff in the proper use of the systems installed. The division also provides onsite stafﬁng

if someone is required to work at client locations once the project is complete. Now that Ideal’s AV ofﬁce in Hong Kong is up and running, the company is looking at rolling out a similar structure in Singapore, Kuala Lumpur and Jakarta. ‘We have quite a large team covering AV in those three countries, and we’re looking at getting more people on the ground there,’ explains Rouzaire. ‘The next area of growth will probably be in India; we’ll potentially open a third ofﬁce in Bangalore to join the ones in Mumbai and Delhi, which will have more focus on AV than broadcast. We’ve already participated in some big tenders in India and it’s only a matter of time before we win a big project.’ Ideal is also considering Vietnam for the future. ‘There’s a real need for quality AV integration in that country,’ he continues. Given the progress made since Ideal’s AV division opened, it’s a good bet that they’ll be appearing in more corporate projects across the region in the future. www.idealsys.com

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Januar y–Februar y 2019 PRO AVL ASIA 117

BUSINESS: COMMENT

A letter from America Dan Daley discusses whether esports is AV’s next championship play VIDEO GAMES AND AV TECHNOLOGY HAVE been coming together in their own sort of adventure in the last couple of years around big one-off events, such as the thousands of fans who piled into the 20,000-seat Air Canada Centre in Toronto for three days last year to watch teams onstage play for the North American championship of League of Legends. However, Mario et al are enjoying these live events so much that they’ve decided to make it a permanent proposition, and that’s going to be big business for professional AV. In the last year, esports has begun building its own physical infrastructure: there’s the 9,150m2 multilevel Esports Arena Las Vegas, opened in the Luxor hotel and casino by Allied Esports International, which also operates ﬁve other arenas in the US and elsewhere; and the new US$10 million stadium in Arlington, Texas that weighs in at 30,500m2 and has the capacity for 1,000 spectators.

The trend towards esports’ physical presence is being reinforced from another, critical avenue: college sports departments that have been quickly bolting on new esports teams that are now one of the schools’ varsity sports teams, alongside their traditional football and basketball squads, the basic building blocks of American collegiate sports. Esports now also has its own governing organisation – the National Association of Collegiate Esports (NACE) completed its ﬁrst national convention in Atlanta in August, attended by 139 colleges and universities that have already instituted or plan to add varsity-level esports. And collegiate planners are already including esports at university as part of their recruitment strategies. Boola Boola, indeed.

Esports needs AV If baseball needs bats and basketball needs hoops, esports needs audio and video systems. Where large-screen video and

concert-level line array sound systems are supplemental to conventional sports venues, that kind of mega AV is literally existential to esports venues. Players sit at 40- and 50-inch displays for games but those battles are projected onto ever-larger videowalls for audiences to watch on, and the sound is just as big. And the money is there for this burgeoning sector: esports is expected to become a US$1 billion industry by 2019 and US$2.3 billion by 2022. It’s big business, it happened quickly and it’s still making up its own rules, something that the AV professionals this young industry will rely on to create its immersive environments are looking at carefully, wondering where it might go. The esports phenomenon is already an incipient juggernaut, building on its own momentum and, inevitably, its own hype. However, there is still a way to go before the joystick takes over from the bat and ball. Best practices need to be established and technical

standards determined. And while the ﬁnancial wherewithal is there to get things started, esports is still a long way from the NFL or the Premier League. The NFL alone earned about US$14 billion last season, while esports might hit a tenth of that by 2020, and with most of that revenue likely going to software title owners and players.

A front-row seat It’s rare that an industry gets to see the equivalent of a nova appear: a new market sector that will rely on existing technology as its basis but that has the potential to take that technology to new heights – esports’ connections to AR, VR and AI are clear and exciting – and to make a boatload of money in the process for those who can build its infrastructure. It may be a niche for now, but not for long, so familiarise yourself with Fortnite, because it’s coming to a stadium near you soon.

A letter from Europe Phil Ward HZRZ HYL ^L Z\ɈLYPUN MYVT 3PZ[VTHUPH& (sic) WHY DO WE HAVE TOP 40-STYLE CHARTS? Sometimes it seems like the whole industry is based around them: radio playlists, television shows, documentaries, shopping lists, Christmas bonuses, pet food, etc. They establish the biggest stars, true – whether or not you think they’re the best acts. They provide statistics on the biggest hits – whether or not you think they’re the best songs. And they indicate, roughly, who’s made the most money – extremely useful information for tax inspectors and lawyers. This information is also seized upon by those responsible for marketing budgets. The theory is as follows: if the numbers stack up, the artists they stack up behind are ipso facto the most popular, and therefore the ones that audiences will crave to watch and listen to, day in, day out. No other criteria are necessary, and the chart positions speak for themselves.

In the process, quantity – the gold- and platinum-plated index of sales – becomes confused with quality. Now, I am the most ardent admirer of pop producers from Mickie Most to Pete Waterman and others who made excellent, disposable pop that must conform to its own benchmarks of quality. It’s not easy, and it can be judged on merits that usually include chart positioning. But this is only one dimension to music production, perhaps the most intangible, and cannot be the sole and ultimate foundation of criticism. There’s nothing wrong with having favourites. There are 100 albums in my Top 10, if not more. But to suppose a national barometer represents everyone’s favourites is to invoke one of democracy’s most baffling conundrums. Indeed, rarely does John Stuart Mill’s tyranny of the majority find such fertile ground as in chart territory – not just music but films, TV ratings, books, pub guides, recipes for tiramisu, anything. It

118 PRO AVL ASIA Januar y–Februar y 2019

creates a reductive and diminishing hierarchy in which pluralism and diversity take a back seat: the oppression, if you will, of the interests of any minority of opinion. So when the British Phonographic Industry (BPI) announced the ﬁrst-ever National Album Day in October, with a ‘week-long buildup of events and activities celebrating the UK’s love of the album’, I for one was overjoyed at this renaissance of the LP and – more than anything – the recognition of a resurgence of sales (in no particular order) of vinyl pressings. It seems part of a simmering dissatisfaction with streaming and downloading, and not simply with the integral quality or otherwise of MP3 ﬁles and their own special kind of reductive behaviour. The fondness for the vinyl album is equally to do with the ergonomics of the product: the ownership of a solid object; the format of the collections carved in plastic; and, of course, the sleeves and their artwork.

In fact, so important are the sleeves that an exhibition of famous album graphic design was announced simultaneously, and ran at major railway stations across the UK. Take it to the people, guys. A perfectly respectable panel of judges from record labels, design and retail selected 70 famous, and infamous, covers for the exhibition, and that would have been that … but guess what? Listen to this: ‘Alongside the exhibition, there will be a public vote for the top three album artwork choices, which will then determine the UK’s ultimate album cover.’ I give up. We can’t be content with a digniﬁed observance of the multifarious creative forces behind one of the 20thcentury’s greatest cultural and commercial achievements, oh no. We have to have a winner. Arbitrarily decided by the random choices of passers-by, on their way to work. Honestly, this fetish will destroy us.

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BUSINESS: TECHNOLOGY

To LED or not to LED?

Has Samsung’s new Onyx LED solution changed the game for cinema projection manufacturers? Simon Luckhurst investigates FOR MANY, THE TRADITIONAL CINEMA EXPERIENCE IS A nostalgic affair, with unique aspects that can’t be replicated at home. In the days of bulky cathode-ray tube TVs, taking in a movie from the comfort of your sofa could never live up to witnessing the action on the big screen. Some of that uniqueness, however, has been eroded as ever-larger and higher-resolution displays appear in our living rooms, accompanied by an increasing amount of speakers. And now it appears that the very technology driving our flat screens at home could one day replace the familiar flicker of the projector beam overhead. A little over a year ago, Samsung debuted a cinema screen composed of LED panels. This marked a radical shift from the theatre projection systems used since the birth of cinema, and screens have now been installed across Asia, Europe and the US. The largest Onyx screen to date has just been installed at Beijing Capital Cinemas, measuring 14m wide. ‘Our customers expect a different and memorable theatre experience that is both worthy of their investment and reflective of the Wanda Cinemas brand,’ says Qi Wang, vice president of Wanda Cinemas’ Wujiaochang theatre in Shanghai, the first multiplex in the world to install Samsung’s LED technology in all of its screens. The new solution, which Samsung is calling Onyx due to the strong blacks made possible by the lack of a projector light, is fast gaining traction as complexes search for new ways to differentiate themselves from the competition. ‘We just opened a multiplex in China with six LED screens,’ says Sunil Karanjikar, senior manager, application engineering, Harman India, who has tuned the audio systems in nearly all of the Onyx installations worldwide. ‘They were building a new cinema and figured out that if they went with all LED screens, they could squeeze in another room.’ Key to the rapid uptake is Onyx’s status as the world’s first DCI (Digital Cinema Initiatives) compliant LED screen, vital for getting access to cinema content. Samsung is offering Onyx in three packages that vary in screen size and resolution, including a DCI version with 4K resolution. One of the main selling points of Onyx is brightness, with a peak luminance of 146FL (500cd/m²), far in excess of the standard theatrical luminance of 14FL (48cd/ m²). This is reportedly bright enough for the screen to be used in lights-on applications such as eSports or concerts. And,

120 PRO AVL ASIA Januar y–Februar y 2019

Cinema has come a long way from the 35mm film projector according to Samsung, brightness is not the only benefit. ‘Onyx is able to display true blacks as the black colours don’t emit any light,’ says Karanjikar. ‘With an emissive screen, if you want a black you don’t light up that particular pixel, which is why you get a truer black. In a projection system where you can’t shut off the lamp, the only way to achieve a true black is by adding tiny mirrors to block the light – DLP projectors.’ But what are the ramifications for audio if cinemas upgrade to LED? Traditional screens are perforated so speakers can simply be installed behind them and fire straight through. This isn’t possible with a solid LED screen. In the first major example of synergy between the two companies since Samsung acquired Harman, Onyx is

Capital Cinema in Beijing has just installed the largest Samsung Onyx screen to date

complemented by JBL’s Sculpted Surround technology, consisting of the existing 9350, 9320, 9310 and 9300 cinema speakers, plus the newly designed 3773. The boxes look straight but are internally angled using what Harman calls a ‘Dual Dissimilar Array Technology – two high-frequency loudspeakers that shoot down at an angle to adapt to the audience seating geometry. Additionally, the screen centre channel is augmented with the new CRF2 ‘Reflector Horns’ that shoot high frequency energy to the centre of the screen and bounce the audio back at the audience. ‘Getting loudspeakers above the screens has enabled better coverage front-to-back because now we have the loudspeaker further away,’ explains Karanjikar. Three channels – L-C-R – are placed above the screen, while the surround channels around the sides of the theatre are angled at 15° towards the screen rather than towards the audience. ‘This unique deployment now enables a much bigger sweet-spot than a traditional system,’ states Karanjikar. ‘The Screen L-C-R channels are processed by a specialised algorithm in the BSS BLU DSP processors called the DE-Elevation Filter, which in conjunction with the CRF2 help to alter the perceived source of the screen channels at the desired elevation, mimicking the sound source through the screen.’ So are we now seeing the beginnings of a shift towards the mainstream use of LED screens in cinemas? Two of the industry’s biggest names in the traditional cinema projection business – Barco and Christie – seem to have very different mindsets. Remember, both of these companies already offer their own line of LED solutions, albeit not intended or designed for cinema applications. For Barco, there’s a more important hurdle for cinema projection systems to overcome first – the lack of HDR support. ‘The majority of systems available today are based on SDR (Standard Dynamic Range) projection systems,’ explains Bas van Heek, strategic marketing manager for Cinionic, a newly created joint venture of which Barco is a major shareholder. ‘True HDR is the result of special recording and grading and requires specific investment from studios and distributors. This is the next big thing in cinema as the audience expects a better image quality, simply because the superior image experience is the exact reason why people visit cinemas above watching movies at home. Hence, the movie industry has to evolve into a true HDR era.’

BUSINESS: TECHNOLOGY Current screen technology based on projection hit its limits with SDR and EDR (Enhanced Dynamic Range), so isn’t this another setback for the future of projection? ‘For true HDR image quality, new technology is required and today only two technologies are capable of displaying true HDR – LED and Barco’s Light Steering Technology,’ concedes van Heek. ‘So, are we moving towards an era of LED cinema projection? We cannot say for the moment. But we are definitely moving towards an era of HDR cinema and, for this, new technology is required. The real question is what technology will deliver the best and most natural HDR image quality to the moviegoer.’ While not many details have been released about how it works yet, Barco’s answer to increasing projector brightness and ensuring HDR compatibility – Light Steering Technology – was previewed recently at CinemaCon. As the name suggests, light is being directed so that less gets wasted, but that’s pretty much all the company has divulged at the time of writing. Looking further afield, the Dutch manufacturer does also see potential for LED cinema technology, even if it might take time for it to be financially competitive with projection. ‘Barco is constantly looking into opportunities and markets for its LED technology and cinema is definitely one we are monitoring very closely,’ confirms van Heek. ‘As soon as the market proves to be ready, a positive business case for

The Barco Espace cInema in Dubai’s Marina Mall

Christie’s 6P dual-laser projection system all stakeholders can be presented and true HDR content is available, Barco will have an answer for the HDR era to come.’ Christie, meanwhile, doesn’t anticipate a radical shift soon and is fully supporting the future of front projection. ‘Although the entrance of LEDs as a cinema-illumination technology has garnered a lot of press in the past few years, they still need to evolve to meet the requirements of cinemas,’ states Christie’s Brian Claypool, VP product management, global cinema. ‘Christie has several core focuses, among them cinema projection and LED displays. Based on our experience, expertise and research, we are of the view that front projection is still the most optimal and viable imaging technology for cinemas; certainly until such time as LED screens are economical to purchase, install and operate within the stringent requirements of the cinema world.’ It would be easy to assume these were hollow words intended to reassure existing projector owners, but Christie is also putting its money where its mouth is. ‘We are 100% committed to investing in R&D for cinema projection technology,’ continues Claypool. ‘At CinemaCon 2018, we announced our agreement with Wanda Film Holding to jointly establish an R&D centre for cinema technology within the Wanda Studios’ site in Qingdao,

China. Christie will exclusively operate the facility for advanced R&D of digital cinema projection systems.’ While there are headline-grabbing LED cinema installations already happening, such as Wanda’s now all-LED Wujiaochang theatre, the majority of multiplex owners will explore a variety of technological offerings. ‘Some cinema chains are using, singly or in combination, a variety of illumination, including xenon lamp-based projection, laser phosphor projection, RGB laser projection and, now, just the beginning of LED displays for delivering movies,’ says Claypool. ‘In time it will shake out and we believe that RGB laser projectors will be the de-facto choice for new installs and replacement of xenon systems, with a few more LED screens emerging worldwide. At this point in time, there are still a number of practical and maintenance reasons that swing in the favour of projection systems.’ So while a new technology and new competitor may have joined the cinema market, it seems those heavily invested in projection technology have already formulated a response. The projector’s days inside cinema complexes might be numbered, but there’s still plenty of life left in the lamp for the time being. www.barco.com www.christiedigital.com www.samsung.com

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Januar y–Februar y 2019 PRO AVL ASIA 121

BUSINESS: SHOW REVIEW

AES New York *HYY`PUN VU MYVT ^OLYL P[ SLM[ VÉ&#x2C6; PU [OL (\KPV ,UNPULLYPUN :VJPL[` (,: VWLULK P[Z KVVYZ HSVUNZPKL [OL 5() :OV^ 5L^ @VYR JOINING FORCES WITH THE NAB SHOW AT THE JACOB K Javits Center has, in many ways, resurrected the fortunes of a trade show that not so long ago was more attuned to looking back nostalgically. Celebrating its 70th anniversary, AES has embraced the developing technologies of the future, allowing it to host a diverse platform with universal appeal. Following on from last yearâ&#x20AC;&#x2122;s theme of Maximum Audio, this yearâ&#x20AC;&#x2122;s Connect enveloped an enormous amount of informative and educational workshops, panels, papers, lectures, technical tours and technology under one glazed roof. Offering the independent NAB Show New York an adjacent hall with mutual access granted for all badge holders has been a masterstroke for both shows, promoting the cross-pollination of resources and ensuring greater appeal for exhibitors. No longer alternating between the West and East Coasts every other year, the AES Convention feels more at home in New York than it ever did in San Francisco or Los Angeles. Neighbouring Broadwayâ&#x20AC;&#x2122;s world-class theatres, the West Side location entices more than just venue technicians and owners along to the show ďŹ&#x201A;oor. There is always a healthy amount of studio, postproduction and broadcasting engineers in addition to international dealers that beneďŹ t from the educational seminars and the crowded exhibition aisles. Looking back, the ďŹ rst AES meeting took place in February 1948 at the Big Appleâ&#x20AC;&#x2122;s RCA Victor recording studios.

Outgoing AES president David Scheirman Seventy years ago, the audio industry was pioneering the LP record and the transistor radio. Early pioneers focused on their common interests such as PA systems, studio design, wire recording and high-quality home reproduction. Owing to the laws of physics, some aspects of audio technology have not changed in seven decades, but overall the show ďŹ&#x201A;oor bears no resemblance to the one just a decade ago. Emerging technologies and the results of audio research continue to be highlighted in the Journal of the Audio Engineering Society. The continued integration of VR, immersive audio, networking and audio over IP (AoIP) were perhaps the dominant themes on the AES show ďŹ&#x201A;oor. Meanwhile, AV over IP and SMPTE 2011 played out

Sunset at the Javits Center

PESâ&#x20AC;&#x2122; Kyle Walker helped to promote Shureâ&#x20AC;&#x2122;s conferencing technologies NUGEN Audioâ&#x20AC;&#x2122;s Freddy Vinehill-Cliffe and Sophie Guest demonstrated the Loudness Toolkit 2.8 software

Stevie Wonder tries out the Zylia ZM-1

Per Lundahl celebrates Lundahl Transformersâ&#x20AC;&#x2122; 60th anniversary

Riedelâ&#x20AC;&#x2122;s Joe Commare divided his time between the NAB and AES booths

122 PRO AVL ASIA Januar yâ&#x20AC;&#x201C;Februar y 2019

Ross Videoâ&#x20AC;&#x2122;s Pete Ross

a familiar tune on the NAB New York show ďŹ&#x201A;oor under a banner of Disruption and Ingenuity. Once-shunned market sectors such as live sound and gaming continue to make signiďŹ cant strides forwards within the AES programme. While panels and workshops addressed live sound and project studio recording, game audio, podcasting and VR discussions also appeared on the agenda. Their very inclusion adds new appeal â&#x20AC;&#x201C; and visitors such as students â&#x20AC;&#x201C; to a show that has long been steeped in traditional recording techniques offering less relevance in todayâ&#x20AC;&#x2122;s commercial world. The dynamic nature of the audio business dictates that if AES is to prosper, then it must embrace changing trends in how the latest generation wants to spend its leisure time. As in 2017, the staging of two shows posed a dilemma for several companies including Avid, Clear-Com, Lawo and Riedel. The 2017 ROIs must have been favourable as they returned to exhibit at both shows concurrently. NAB Show New York may be a greatly scaled-down version of its Las Vegas big brother, but it manages to bring major brands such as Blackmagic Design, Panasonic and Ross Video to its show ďŹ&#x201A;oor by allowing them to interact with East Coast broadcasters, dealers and production companies.

BUSINESS: SHOW REVIEW Promoting its IP over audio solutions including the IP-64 digital control surface and the LXE digital platform, Wheatstone’s Phil Owens was pleased with the two-day show. ‘It’s a good exhibition not only to meet East Coast and Canadian TV station broadcasters, but also colleges and universities,’ he said. Several companies had taken the decision to exhibit at both shows. So while the mc²96 and mc²56 mixing consoles integrating d&b’s DS100 signal engine, Kick 3.0 close-ball automation and A__UHD Core engine were demonstrated on its AES stand, Lawo was showcasing its IP video infrastructure technologies and Ruby radio console on its NAB booth. ‘It was a difﬁcult decision to make,’ explained Andreas Hilmer. ‘If we only had a booth on the NAB side, we’d be accused of abandoning audio and vice versa, so we opted for both. Hopefully, in time, the two shows will be integrated.’ Riedel had a similar dilemma, opting to promote an Artist intercom panel within the AoIP Pavilion at AES, while demonstrating the MediorNet Compact Pro, Bolero platform and more video-centric products at NAB. ‘It’s a high-cost venue with drayage fees here at the Javits and you wait around for many hours after the show before you can ship your exhibits,’ pointed out Riedel’s Joe Commare. ‘After NAB and InfoComm, this is our third biggest show and the visitor turnout seems good.’ Clear-Com also exhibited its Eclipse HX, FreeSpeak II, HelixNet and LQ-R platforms at both shows, while RTS decided to simply exhibit its new Odin platform and KP-5032 and KP-4016 key panels exclusively at NAB. Avid targeted both shows with different visitors in mind. The company’s NAB booth beckoned broadcasters and postproduction engineers engaged in sports production and video editing with Maestro, MediaCentral, Media Composer and Avid Artist. The Venue S6L modular mixing system appealed to live sound engineers at AES, while Pro Tools, the S3 and HD Native were demonstrated to audiophiles. In addition, the Avid Partner section hosted technologies from Dolby, NUGEN Audio, RTW, Sonnox and Audionamix, which demonstrated the latest XTrax Stems 2 and IDC software packages.

Audionamix’s Doc Kylian was kept busy demonstrating IDC and ADX Trax software solutions

Noted engineer-mixer Al Schmitt presents Neumann president Wolfgang Fraissinet with a special award

Nokia Technonologies’ Jyri Huopaniemi attended the 145th AES to promote OZO audio software

Traditional AES Convention attractions such as the platinum producer, engineer and mastering panels, technical tours, educational and historical presentations and lunchtime keynotes provided over 400 cumulative hours of information and precipitated a positive buzz over four days. Once again, the Live Sound Expo at the rear of the exhibition hall attracted novices and veterans alike during its concert tour sound day. Panel experts such as noted engineers and producers Al Schmitt, Bob Clearmountain and Toni Visconti make AES a special event that cannot be replicated. Software pioneer Waves continues to exemplify how a modern manufacturer needs to survive and prosper by creating plug-ins for competing manufacturers. Endorsed by elite engineers, Waves exhibited its complete range of hardware and plug-ins, including the latest TG Mastering Chain plug-in alongside the eMotion LV1 digital live mixer loaded with the latest v10 software. Waves’ latest collaboration with Rational Acoustics integrating Smaart analysis software has led to the development of Tract system calibration and the Smaart Di v2 bundle that allows the autocorrection of EQ issues and time-alignment of audio systems.

Sennheiser’s Jamie Criswell demonstrating the micro SK6212 transmitter

‘AES is definitely on an upward curve,’ assessed RTW’s Andreas Tweitmann. ‘The NAB traffic is certainly helping and we’re seeing customers from further afield than New York and the East Coast. More music producers are finally realising the issues of loudness in music production and our latest 19-inch TM9 TouchMonitor has attracted good interest. In conjunction with the Fraunhofer Institute, we are also as important a topic as loudness.’

Antelope Audio’s Donald Spacht

Audinate VP of marketing Joshua Rush

The Mogami line-up The AoIP Pavilion at AES drew visitors

DirectOut’s Claudio Becker-Foss

Blackmagic Design’s Bob Caniglia

AES sales director Graham Kirk

Dynaudio’s Rune Jacobson promoted the 48 monitor and 18S subwoofer

The Live Sound Stage was another diversion for AES visitors

DPA’s Anne Berggrein and friend modelling the new d:screet Core 6060 miniature mic

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BUSINESS: SHOW REVIEW Consoles designed for recording, postproduction and broadcasting applications were in good supply. DiGiCo showcased its SD7 console with the Quantum 7 engine and 4REA4 networking technology. In addition, the manufacturer also demonstrated the S App allowing wireless remote control of the SD12, S21 and S31 consoles. Fellow Audiotonix brands were all present including Allen & Heath with the SQ-7 and dLive, while Calrec highlighted its Brio36 and Apollo consoles with the new Type R for radio products in NAB. For SSL, AES was a triumphant return as the company promoted its Fusion (XLogic and Sigma), Studio (AWS 948 delta), System T and Live L500 console technologies to a cross-section of visitors from recording, postproduction, broadcasting and live sound backgrounds.

Gary Boss woos podcasters with the latest Audio-Technica bundles

Mathias von Heydekampf with a rack of RME converters, preamps and USB interfaces

Massimo Polo with Wisycom’s latest wireless solutions including the MPR52-ENG dual-channel diversity receiver

API removed the wraps from two large-format analogue consoles at AES 2018. Available as a 16-, 32- or 48-channel recording and mixing console, the 1608 II is a 10-year leap forward, featuring the new Final Touch automation system together with mic preamps and EQs on each channel. Also incorporating Final Touch, the 2448 includes dual inputs and stereo returns on each channel. AMS Neve promoted its Encore automation software together with the 1073 mic pres, the black Genesys digital control surface with new processing plug-ins and the DFC digital film console for Atmos, 3D and Dolby mixing. ‘It’s been a very busy show for us from the outset,’ confirmed Liz Wilkinson. ‘We’ve met a number of film audio engineers who have all received one-on-one tuition on how they can

AMS Neve’s David Critchley operating the control surface of the Digital Film Console

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Cedar Audio’s Gordon Reid demonstrated the portable DNS2 digital noise suppressor transform their workflows quickly on a DFC. It’s definitely been worth the effort in exhibiting.’ Since founding its pro division in 2017, Focusrite continues to extend the RedNet range of networkable interfaces for broadcast, education and installation sectors. In addition to being an audio router, the Red 16Line can also be deployed as a monitor section and cue mixer or a DAW interface. ‘We’re targeting podcasters, studio owners, musicians and broadcasters with our Scarlett, Clarett and OctoPre interfaces,’ confirmed Rich Nevens. RME promoted a number of its latest Dante networkable devices, while launching the DTOX series of panels for interconnecting D-sub connectors to multichannel XLR breakout boxes. Demonstrating great versatility, the ADI-2 Pro FS 2-in/4-out AD/DA converter also debuted as a USB audio interface in addition to fulfilling roles as a double headphone amplifier, an AD/DA front-end and headphone amp for iOS devices, multi-format converter with monitoring function and DSD record and playback solution. Traditionally, the manufacturer demonstration rooms have been sparsely attended but, this year, the draw of new products together with innovative playback methods proved too much for many passers-by. JBL transformed its demo suite into a control room by playing Dolby Atmos content through its 7 Series Master Reference monitors, ensuring standing room-only sessions. PMC hosted its Masters of Audio seminars in a Dolby Atmos 7.1.4 setup consisting of an MB3 XBD-A LCR system, IB1S-A surround channels, QB1 XBD-A subs and wafer 2 overheads. While Meyer Sound unveiled its eye-catching Bluehorn System designed to take room acoustics out of the equation, L-Acoustics held regular presentations of its Syva segment source technology. Audio Precision conducted test setups with the AECM206 headphone test fixture, APx Bluetooth Duo Module and APx v4.6 software allowing engineers to test via open loop chirp. Yamaha’s exhibition floor space was split in order to promote video postproduction techniques using Nuage software, which now provides support for Steinberg Nuendo 7

Clear-Com’s Simon Browne

Nexo and Yamaha revealed the DZR315 and Geo M6 speaker systems

Chris Exelby from TSL products showcased updated capabilities for the PAM1-IP and PAM2-IP monitors on the rear, while the flagship Rivage PM10 mixing system took centre stage at the front supported by the smaller CL1, CL3, QL5 and TF3 mixers. In the demo room below, Nexo Geo M10 and M620 speakers were paired with LS15 and LS18 subs, respectively, with Yamaha DZR315 speakers supplemented by DXS18 subwoofers providing playback. Faced with a similar dilemma to Yamaha, Sennheiser hosted spatial audio demonstrations of Ambeo 3D immersive audio using Neumann KU 100 monitors. On the show floor, Neumann showcased its U67, U 47 FET and M 149 tube microphones, while Sennheiser focused on its Ambeo VR and SK 6212 mini wireless transmitter. In a further development, Sound Devices partnered with Sennheiser by integrating the MixPre-6 with the Ambeo VR mic. Zylia turned heads – including Stevie Wonder’s – by demonstrating the ZM-1 recording solution for capturing full spatial audio scenes. Connected to a laptop via USB, the compact 4-inch sphere integrates 19 omnidirectional capsules and, when connected to the Zylia Studio software, recordings can be made in both 3D/360° audio and traditional stereo. If there was one product category in abundance, it was microphones. Schoeps displayed its ORTF-3D ambience outdoor plug-and-play solution in addition to the V4U, digital SuperCMIT and CCM 2 models, CMR and CMC field mics and CCM 41, CCM 8 and CMIT 5U surround solutions. Like Neumann, Microtech Gefell is also celebrating its 90th anniversary and showed the KM975 and MD300 models together with the BM 180 and 190 stage microphones, UM930 twin condenser and INA 5R surround sound mic. The MXW Microflex Complete wireless series was one of the main attractions on the Shure booth. ‘A lot of the students coming here want to be professional gamers, podcasters and musicians,’ commented PES representative, Kyle Walker. ‘The reality is that most of them won’t make it, so we’re showing them how our technologies enhance huddle rooms and conference spaces in the modern office space.’ The new P9RA+ and P10R+ bodypack receivers that operate with the PSM transmitters were debuted alongside the established Axient Digital, AV conferencing technology and a selection of broadcasting microphones and headphones including the VP83F and VP89 shotgun models. Maintaining its small but powerful credentials, DPA unveiled its smallest capsule to date with the launch of the d:screet Core 6060, 6061 subminiature microphones together with the d:fine Core 6066 headset. Measuring 3mm in diameter, the new additions drew technicians from the theatrical, film and television fraternities. ‘We’re providing our customers with the best audio possible in our smallest capsule to date with this new mic,’ explained Kalle Hvidt Nielsen. ‘Presenting

BUSINESS: SHOW REVIEW these mics at AES New York is the perfect avenue for us to showcase what we can offer the professional audio market.’ Lectrosonics continues to push the wireless boundaries, and the addition of the new stereo portable digital recorder (SPDR) continues to charter its course as a leader of small, lightweight technologies for location recordists. ‘As in 2017, the nearby theatre engineers are coming to take a closer look at the Duet digital wireless monitor (IEM) system for their performers,’ commented Karl Winkler.

the DK7 drum kit. Wisycom, meanwhile, presented its v2.0 Manager software together with the new MPR52-ENG dual-channel diversity receiver, which includes two diversity receivers with both analogue and digital outputs. Sanken revived its CU-31 and CU-32 compact models having previously delisted them, while sE Electronics featured the sE2300 handcrafted condenser. Celebrating its 40th anniversary, Genelec demonstrated the latest S360 monitors with the 7380 smart active subwoofers in an immersive demonstration on its booth. Fellow Finnish company Amphion was in close attendance, as was Dynaudio, highlighting its 9S and 18S subwoofers. The AES Convention show ﬂoor will possibly never mirror the analogue multitrack golden years of the 1990s. However, it has breathed new life into audio by encouraging podcasters, gamers and streamers to learn more about audio. Just as vinyl resurrected its own fortunes in an age of digital downloads, the latest generation of audio users are coming to AES to better understand audio fundamentals. This may not be 1948, but the need to showcase, discuss and demonstrate audio technology is never more relevant. And while old school enthusiasts and engineers continue to ﬂock to AES in order to catch up, be informed and meet friends, the combined crowd has created a welcome dilemma for many exhibitors in terms of what technologies to present.

Japanese distributor Hiro Saika from Mix Wave with Dan Zimbleman unveiling the latest API 2448 console Celebrating 40 years, Genelec promoted its S360 monitor and 7382 subwoofer in an immersive booth setup

AEQ’s Peter Howarth and Broadcast Pix’s Russell Whittaker demonstrated workﬂow integration over IP

Audio-Technica catered for the mixed AES attendance with a display of microphone and headphone bundles for content creators, including podcasters, videographers, live streamers and YouTubers. ‘This is in direct response to customer input,’ revealed Steve Savanyu. ‘Many of these new customers aren’t professional users, so these cost-effective bundles provide turnkey microphone and headphone solutions for all aspects of content creation. Two bundles feature USB outputs to directly connect with computers, while two feature XLR outputs for more ﬂexibility to connect with professional mixers or digital interfaces.’ Earthworks had made the relatively short journey down from New Hampshire to exhibit a bespoke selection of live, studio and instrument microphones including the SV33 studio vocal mic and DM20 drum mic that forms part of

www.Broadcast-Asia.com

2018 Dates:

17–19 October

2019 Dates:

16–18 October

Venue:

Jacob K Javits Center, New York

Total exhibitors: 250 Attendance:

14,000

Contact:

www.aes.org

18 – 20 June 2019 . Level 3 – 6, Suntec Singapore

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Be part of the exciting developments within the broadcasting and digital multimedia industries. Lead the disruption by spotlighting your technology and innovations at BroadcastAsia2019 and expand your business network, form meaningful partnerships, and discover new opportunities! BroadcastAsia - Asia’s must attend international event that attracts the media, entertainment and technology professionals, together with CommunicAsia and NXTAsia, form ConnecTechAsia, Asia’s MEGA technology platform.

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Januar y–Februar y 2019 PRO AVL ASIA 125

BUSINESS: SHOW REVIEW

InterBEE 2018

As Japan gears up for the Rugby World Cup 2019 and 2020 Summer Olympics, the mood was upbeat at InterBEE 2018 API was hosting the Asian debut of the new 2448 console running the US manufacturer’s new Final Touch automation. ‘There was a gap in our product line, so we’ve created a big brother to the 1608,’ said API’s Dan Zimbelman. ‘I expect this to do well in the Japanese market.’ Another new console was the Calrec Type R IP-based radio system, shown alongside its next-generation Impulse core that now supports a multitude of immersive formats. Sharing space with Calrec on the Hibino stand, DiGiCo was debuting its 4REA4 processing engine rack to the Japanese market. On the stand of distributor Tech Trust, alongside the latest from Wisycom, Schoeps, Lectrosonics, Mipro and Sound Devices, was the Aurus platinum fourth-generation console from Stage Tec, with a worldwide debut of the parallel compression feature as well as 3D audio functionality. Tech Trust has also taken on two new brands, Dynaudio studio monitors and the Bubblebee range of windshield mic covers and in-ear monitors.

THE PALPABLE BUZZ ON THE SHOW FLOOR WAS PARTLY due to a date two weeks distant: 1 December 2018, the launch of Japan’s 8K/4K/22.2 satellite TV channel by NHK. The national broadcaster’s stand featured a giant, 8K Super Hi-Vision countdown screen that towered over the audio contingent in Hall 1, eagerly anticipating the approaching date. On the stands below, immersive sound appeared to be on everyone’s agenda. Japanese console manufacturer Tamura was staging surround sound demos via its NT900 console, developed for 22.2 in conjunction with NHK. On the stand of long-term distributor Otaritec, Lawo has also been working with NHK on the new format, providing its mc256 console for 22.2 productions. Lawo also provided the IP infrastructure for the video transmission of a recent 8K broadcast of the NHK Trophy ﬁgure skating event, which was being screened around the halls. ‘We’ve built up long relationships with all the major broadcasters here, especially NHK,’ said Lawo’s Gregor Erlitz.

Counting down to 8K

DiGiCo’s Ian Staddon with the new 4REA4

Genelec Japan presented an immersive demo on its stand, switching between Dolby 7.1.4 and Auro-3D, and revealed that Genelec 8341 speakers have been selected for the 22.2 studio at NHK’s Shibuya premises. ‘We’ve been developing 22.2 for more than 10 years, working in conjunction with audio manufacturers including Genelec,’ said Teruo Abe, principal engineer at NHK. Sennheiser was demonstrating Auro-3D 9.1 on its stand via the Neumann KH80 monitors. ‘We are challenging Auro immersive which has all sorts of different applications,’ said Sennheiser Japan’s Yuki Inori. Yamaha Sound Systems had partnered with Canon to present a demo with its level delay matrix and FIR EQ technology, while Fraunhofer IIS showcased its MPEG-H interactive TV sound.

TEAC’s Erisa Sato with the new TASCAM Model 24 console

SSL’s Hiroshi Mano was showing off the new Fusion analogue processor

Tech Trust’s Jiro Iwano with the next-generation Stage Tec Aurus console

Tamura’s Jia Chuanyun at a demo of the NT900 console

Sennheiser demoed Auro-3D 9.1 on its stand

126 PRO AVL ASIA Januar y–Februar y 2019

PMC’s Chris Allen with Kensuke Matsui from distributor, Otaritec

Genelec Japan’s Kanji Murai with NHK engineer Teruo Abe

BUSINESS: SHOW REVIEW Long and stable relationships between manufacturer and distributor proliferate in Japanese pro audio. The huge Hibino stand at the rear of the hall was, as usual, showcasing the Harman brands of JBL, Soundcraft, Crown, AKG, BSS and Lexicon alongside Calrec, DiGiCo, Coda, Shure and DPA. L-Acoustics, Midas and Klark Teknik were all in the safe hands of long-term partner, Bestec Audio, while EAW, RCF, QSC, Mackie and Biamp could be found with Onkyo Tokyo, the latter showing its range of Tesira TCM beam-tracking mics. New products featuring Digigram’s AoIP codecs, represented by SCA Sound Solutions, were being shown in preparation for the Japanese broadcast industry’s move to IP. The French manufacturer was also ﬂagging up its announcement as APAC distributor for audio networking solutions provider AuviTran. New relationships, and indeed companies, were also in evidence. FBT was making an appearance with new distributor, MTC. ‘We think that the Virtus line in particular will be good for the Japanese market,’ said MTC’s MD Yasuhiro Matsuoka, who had visited FBT’s premises in March. ‘I hope this is the beginning of a growing relationship and good business,’ added FBT’s Roberto Mataloni. MTC’s second stand featured long-term partners

conferencing space, so we moved over from the audio hall,’ said Williams AV’s Per Persson from the stand of Arvanics Corporation, which is handling the company’s new Presenter Hub in Japan. PMC was with new distributor Otaritec, until recently Genelec’s long-time partner in Japan. ‘The show is busier than most and footfall has been very constant, with Otaritec bringing through some key clients,’ said PMC’s Chris Allen. Joining Martin Audio, Powersoft, beyerdynamic and Symetrix on the Audio Brains stand was AV network specialist, Visionary Solutions. ‘The company is really

MTC Japan’s Yasuhiro Matsuoka (right) and Shoya Takahashi ﬂank FBT’s Roberto Mataloni

Izumi Higasayama from distrubitor Laguna Hills with AuviTran’s Maud Ansade and Digigram’s Nancy Diaz Curiel

including Renkus-Heinz, Rane, Community, Clear-Com, Kramer and Televic. K-array is now being distributed by newly formed Italian Sound Design (ISD) Japan. ‘Only the name has changed; our customers and business remain the same,’ said familiar face Tadato Nishimura, who was reporting great interest in K-array’s new Kapture line array microphone and Azimut compact all-in-one audio package. Over in Hall 8, Williams AV is the latest incarnation of Williams Sound, having acquired video annotation specialist Pointmaker. ‘We’ve developed some products for the video

‘I am Venom’... Sound effects editor Will Files revealed the Pro Tools techniques employed on one of his latest projects

Media Integration’s Ryuichi Shure Japan’s Michal Golebiowski was showing off Kitaki with Marc Fenton from Focusrite the Axient Digital series

New faces at d&b Japan, Craig Lovell and Hideki ‘Jimmy’ Yajima, with the new large-scale GSL system

TOA was displaying its cheery red ME-50pro monitors

ISD’s Tadato Nishimura with the K-array range

technical and has a good grasp on the market; the show is going really well for us,’ said the US manufacturer’s Scott Freshman. Focusrite was being shown by new distributor, Media Integration. ‘Dante networking is getting more popular for audio production people in Japan,’ explained Focusrite’s Marc Fenton. ‘There are two Focusrite consoles still working here, so veteran engineers know about the brand, but we are trying to bring it to the attention of the younger ones.’ Two new yet familiar industry faces could be found on d&b Japan’s stand. Hideki ‘Jimmy’ Yajima joins as MD, while Japanophile Craig Lovell is the company’s new technical manager, already conducting Soundscape demos in ﬂuent Japanese. Next year’s InterBEE will be held on the eve of Tokyo 2020. Expect the stakes to be even higher.

2018 Dates:

14 – 16 November

2019 Dates:

13 – 15 November

Venue:

Makuhari Messe, Tokyo

Total exhibitors:

1,152

Attendance:

40,839

Contact:

www.inter-bee.com

The InterBEE Experience LOUDSPEAKER DEMONSTRATIONS during trade shows are divisive affairs. An opportunity for manufacturers to show off their dB levels and sound characteristics away from the show floor, rarely do they provide a level playing field. This cannot be said, however, for the InterBEE Experience X-Speaker demonstration, held for the fifth time this year at the Makuhari Messe event hall and attracting 15 brands. Participants could compete in three different categories: point source speakers, compact line array speakers, and medium and large line array speakers. Yamaha, TOA, Ramsa, dBTechnologies, Bose, Coda Audio, RCF, Adamson, Martin Audio, d&b audiotechnik, Nexo, Electro-Voice, L-Acoustics, EAW and JBL all entered, some in more than one category. ‘It’s extremely fair because they don’t mix large and small systems,’ said Nexo’s Dennis Baudier. ‘It’s the

same sequence of music and vocals for every system, and then the manufacturer gets the chance to describe their products. The source is the same, going through the same console, and there are regulations regarding the SPL. It’s a great model, and other shows should align to this standard.’ Added Coda Audio’s Paul Ward: ‘The proof of its quality is that all the top brands are there. Many of those brands don’t engage in demos like this because they don’t feel they need to, so it’s a real testament to the demo.’ InterBEE 2018 also featured dedicated areas for the X-Microphone and X-Headphone demos, with companies including Sennheiser, Audio-Technica, beyerdynamic, AKG, Shure, Sony, Schoeps, Ultrasone, Stax, Phonon, Aston Microphones, Ehrlund Roswell, Mass-Kobo, Sound Warrior, Yamaha and Telefunken taking part.

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BUSINESS: R&D

The entrance to DPA’s production facility

The design process for DPA Microphones’ new 6060 and 6061 subminiature lavalier mics and 6066 subminiature headset mic has taken its R&D team around the world to meet end users. James Ling KPZJV]LYZ OV^ [OPZ PUÅ\LUJLK [OL ÄUHS WYVK\J[ WITH DPA MICROPHONES’ REPUTATION IN THEATRICAL, film and broadcast circles, it should come as no surprise that the company has long been asked to make a subminiature microphone. Equally, given the Danish manufacturer’s expectation of high-quality sound from all of its products, it is easy to see why the process of meeting this request has been a long and technically challenging one. ‘From my point of view, the key is the dedication and the focus on getting things right,’ says Kalle Hvidt Nielsen, CEO at DPA Microphones. ‘Creating the subminiature was a big undertaking. There were a lot of basic studies that needed to be done, new technologies that were required and that takes a lot of time.’ The result of this are the 6060 and 6061, microphones the manufacturer describes as ‘the best mics we have ever made’. Getting hands-on with the new capsule and exploring the process that went into its creation, it is easy to see why DPA would make this claim. The tubular capsule with its cap of stainless steel is 3.4mm in diameter (including the cap), giving it only 60% of the physical appearance of the manufacturer’s 5.4mm miniature mics. Despite this, the IP58-rated, omnidirectional mic has approximately the same stated noise floor as the 5mm capsules and a similar dynamic range. Getting to this point is a process that has drawn heavily on the amplifier technology developed for the manufacturer’s 5.4mm miniature mics with Core by DPA. ‘The legacy amplifier has components inside the capsule and outside the capsule, while the Core has everything inside and smaller,’ explains Ole Moesmann, R&D manager at DPA Microphones. ‘Shortly after we launched Core, I went to the electronics guys and told them that they had done a great job and that I now needed one that was even smaller.’

128 PRO AVL ASIA Januar y–Februar y 2019

The majority of the assembly process is done under a microscope Creating the smaller version of the 5mm miniature capsule was an exciting task. ‘We are already moving on the edge of what is physically possible,’ explains Moesmann. ‘Going through all the parts of the microphone, optimising and adjusting, has been another R&D task at DPA that has pushed the limits of what is physically possible. All parameters have been in play to make a new, fantastic microphone. Achieving a noise ﬂoor on par with our 5mm designs for the 6066 headset and the 6061 lavalier was not an easy task. We have a diaphragm area on the new 3mm capsule that is less than 30% of the 5mm, so in theory the noise ﬂoor of the new design should be much higher.’

While the microphone capsule itself was central to the project, it was only part of the overall R&D process. The creation of the headset and clip options have received just as much attention as the capsule itself. The starting point for this was approaching the company’s user base across the theatre, ﬁlm and broadcast markets and interviewing people about how they attach microphones. ‘The ﬁrst tour of interviews was around 35 individuals and we didn’t tell them what we were looking into, we were just interviewing and watching them out there in their own environment,’ recalls Moesmann. ‘We were at the theatre, at the TV studio, at the drama set just watching what they

BUSINESS: R&D were doing and then interviewing them after that. We were talking about how to mount miniature microphones, what the challenges are, the pains and their needs, and we came out with a huge amount of user input.â&#x20AC;&#x2122; Having collected and analysed this data, the manufacturer used it to create a light, yet secure headset that is easy to ďŹ t. Stability comes from a 3-point spring mechanism that essentially forms a tripod around the ear, while adjustable boom lengths and angles ensure that one size ďŹ ts all. Finally, a simple 90Â° clip on the rear of the headset serves to provide security and strain relief for the mic cable. â&#x20AC;&#x2DC;Weâ&#x20AC;&#x2122;ve had very positive feedback on the headset,â&#x20AC;&#x2122; notes RenĂŠ MĂ¸rch, product manager at DPA Microphones. â&#x20AC;&#x2DC;We showed users prototypes along the way and got feedback on

Assembly of the d:facto mics

that. They are thrilled to see that we have used some of the input that we got from the round the world tour from various industries to make it better. â&#x20AC;&#x2DC;The feedback that we get is that it ďŹ ts perfectly and it can be adjusted easily,â&#x20AC;&#x2122; he continues. â&#x20AC;&#x2DC;With the beneďŹ ts from security and strain relief that the clip on the back of the headset offers, it is one of those things where we wondered, why didnâ&#x20AC;&#x2122;t anyone think of this before?â&#x20AC;&#x2122; The headset was not the only accessory to beneďŹ t from the R&D user tour. â&#x20AC;&#x2DC;For the 6060 lavalier, we made a new version of the existing clip so that instead of taking the mic out, you can just lock it into a different position via a rotable design,â&#x20AC;&#x2122; says MĂ¸rch. â&#x20AC;&#x2DC;It has eight different positions so you can clip it anywhere. â&#x20AC;&#x2DC;Making sure it was practical was a key part,â&#x20AC;&#x2122; he continues. â&#x20AC;&#x2DC;I thought that we should come up with more attachments than we ended up doing. But we found especially in the ďŹ lm business, these guys are real pros who know what they are doing and we couldnâ&#x20AC;&#x2122;t teach them anything. We can give them a good microphone but they know how to hide it. Why try to give them something that they have to have from us and if it breaks or someone forgets to get it out of a costume then they have to have a new one from us. The things that they are using you can literally just go down to a shop and pick up the bits you need.

Furthermore, third-party companies have specialised in making these hiding accessories and there are already some available for our new design. That was again one of the things we learnt from the R&D teamâ&#x20AC;&#x2122;s work.â&#x20AC;&#x2122; This highlights one of the major advantages that DPA has seen from taking this approach to the R&D process. â&#x20AC;&#x2DC;Having the R&D team seeing what our customers are doing was brilliant,â&#x20AC;&#x2122; says MĂ¸rch. â&#x20AC;&#x2DC;That way it was not conveyed via several people, it was direct. They could see what they were designing because they knew what the pain was, they didnâ&#x20AC;&#x2122;t have to guess what they were designing for.â&#x20AC;&#x2122; The combined result of the new capsules and accessories is something the manufacturer is clearly taking a lot of pride from. â&#x20AC;&#x2DC;It is a very exclusive product,â&#x20AC;&#x2122; concludes Nielsen. â&#x20AC;&#x2DC;We know that the combination of smaller and better is in high demand. I think that we are going to open some new doors with it due to the size mainly, and I also think that a number of our customers will switch to that one. My gut feeling is that itâ&#x20AC;&#x2122;s going to be good.â&#x20AC;&#x2122; www.dpamicrophones.com

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Januar yâ&#x20AC;&#x201C;Februar y 2019 PRO AVL ASIA 129

BUSINESS ANALYSIS: Q&A

Q& Bardy Bardy Hayes Hayes

What’s driving future AV talent? The pro AV industry has been earmarked to grow to US$230 billion come 2030, with Asia commanding the lion’s share, according to an AVIXA report. We caught up with Bardy Hayes, principal consultant at AV recruitment consultancy, Interfacio, on the changing needs of the industry WHERE ARE THE LARGEST TALENT GAPS IN THE PRO AUDIO SECTOR AT PRESENT? This varies region by region, but it is no secret that there is a large shift in the level and type of technical requirements for sales and support professionals. The demand and understanding required to effectively market, promote and sell have definitely shifted towards digitally controlled and networked products. The easy answer is just to look for IT guys to fill those roles; however, the highest demand is for IT-savvy pro AV professionals who also have a fundamental understanding of audio, video, display and control. Having said that, acoustics knowledge, production best practices and hands-on, real-time skills are still very desirable. My advice to any person that will listen – and there aren’t many – is that integration technology is not only very progressive and challenging but is growing both vertically in size and horizontally in scope across AV and industries beyond it. Embrace IT, networking, control, and you will never have trouble finding a position or adding value in the sector you are passionate about.

HOW DO YOU THINK AV ROLES HAVE CHANGED OVER THE LAST FIVE YEARS WITH GROWING IT CONVERGENCE? The way I see it, the laws of physics haven’t changed. How sound waves behave in a given space is still the same; how our brain interprets those sounds hasn’t changed either. How to compose and place elements in a piece of art hasn’t improved since the Renaissance, and our colour blending isn’t transcending Van Gogh’s. What is constantly changing is scale, power and resolution. So, the tools have changed, but the overall objectives have not. We want experiences that sound and look pleasing and we want to be able to understand what is being communicated. I think that to be successful in the AV ﬁeld you still need to start with the fundamentals but embrace and immerse yourself into the incredible array of tools at our disposal today. And, to always embrace change. One thing that is beyond dispute: today’s audio, lighting and video tools will become obsolete during our time.

WHICH AV SUB-SECTORS ARE YOU SEEING THE MOST RECRUITMENT SPEND FROM? WHAT ABOUT IN APAC MORE SPECIFICALLY? Any gap in technological understanding and experience that may have existed between Asia and the West has disappeared. While the excellent standardisation and certification work that organisations like AVIXA has done is growing quickly in Asia, there seems to be a real shortage of CTS-certified technical sales and management people. In terms of hotspots for AV talent, they are central SE Asia (Singapore, specifically), mainland China and Japan. Our recent emphasis on Asia so far is showing higher engagement from large audio and broadcast tech companies, but the lighting talent search is also growing now. Since our history has been more audio-oriented, we haven’t seen as much interest from the video side, but we are confident of that changing.

130 PRO AVL ASIA Januar y–Februar y 2019

My perspective is skewed, due to my industry background and contacts base, but I am deﬁnitely seeing more activity in the sound reinforcement side, both portable/touring and install and lighting. The biggest spend is going on the control/processing side of the integration sectors.

WHAT DESIRABLE EXPERIENCE IS BEING COMMONLY SOUGHT BY PRO AUDIO COMPANIES IN APAC? As our industry continues to mature from its heady rock ‘n’ roll heritage, I see companies steering away from its shoot-from-the-hip past – real science is supplementing and even replacing intuition and trial and error in acoustic and electronic design. Plus, certiﬁcation and best practices are

a welcome change to some of the messy and sometimes even dangerous practices some of us grew up with. I am ver y happy that no ‘around the back’ photos of my original touring racks sur vived. I would hate for them to be compared to some of today’s amazing (and can I say beautiful?) racks. AV companies are looking for candidates with better and better education – true understanding and fluency of physics on the audio side, and certification and standardisation on the installation and commission sides. Professionals that want the best AV jobs need to always improve their real-world and certifiable skills and that process should never end.

WHAT ARE THE CHALLENGES OF HIRING FOR A PRO AV ROLE IN APAC, FROM A COMPANY’S PERSPECTIVE? The difficult bit is not the type of role, but the scope of any regional role. I would venture to say that the differences between most countries throughout Asia is far more pronounced than between European countries. So, to find talent that is experienced, comfortable and connected in let’s say Indonesia, Japan, China and New Zealand is tough. Even just Korea and Japan – two countries that are so close geographically but so different socially and in world view. The biggest challenge for AV corporations is culture. As Asia continues to grow in prosperity, status and influence, the days of local markets needing to adapt to western styles is on the wane and there is an increasing pushback against companies that insist on behaving and doing business the way they do in the West. Now I am not referring to basic processes and best practices, nor, of course, ethics. I am speaking about good old human interaction. If an AV organisation outside APAC wants to maximise its success in Asia, they should consider adapting and assimilating into the ways of interacting, communicating, relating and doing business locally. Better understanding, more respect and being quick to listen are some of the areas we need to improve.

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