Pro AVL Asia January–February 2018

You never know where the world of A/V technology will take you. I imagine that back in early 2017, Thomas Mittelmann never envisaged that as the year drew to a close, he would be visiting the cremation grounds of Thailand’s much-loved King Bhumibol Adulyadej the day after the ceremony to report on it for Pro AVL Asia. Yet after being granted the necessary access, this was indeed where Thomas found himself, and his account of the time he spent there can be read on pages 98 and 99.

Diversity, always one of our strong points here at Pro AVL Asia, is particularly apparent in this issue, as our writers take you from a cutting-edge Tokyo facility co-owned by erstwhile synthpop star Simon le Bon (pp110–111); an auditorium used for Chinese political conferences and meetings (pp100–101); Ed Sheeran’s comeback concert in Singapore following an injury (pp94–97); plus much more. Of course we rely heavily on you, our readers, to keep us informed of worthwhile projects and installations, and I’m eagerly anticipating what 2018 will throw up. A trip to Hanoi to investigate the developing industry is on the cards, so please don’t hesitate to contact me if you’re making A/V history there. And of course, we also welcome feedback regarding what you’d like to see more or less of in the magazine.

On the subject of feedback, we received a charming email at the end of 2017 from a reader in India. He was thanking us for what he considered to be our relevant technical coverage, as well as the platforms on which it could be accessed. An educator, he told us our written and video content had long been useful to him in planning his lessons.

This short email was nevertheless big on impact, and it made our day that someone had taken time out of their busy schedule to express appreciation; it doesn’t happen often. Thank you, Mr Avinash Oak, for reminding us that the small things in life go a long way. We could all do with heeding this example as we progress into 2018. Happy New Year.

IN THIS ISSUE

ADVERTISING DIRECTOR sgould@proavl-asia.com

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17 Upper Grosvenor Road, Tunbridge Wells, Kent TN1 2DU, UK

Harman distribution disruption down under

AUSTRALIA: With the announcement that Jands will cease representing the Harman Professional Solution brands, the Australian A/V distribution network is currently experiencing a seismic shakeup. ‘In the past year or more it has become apparent that Jands’ business philosophy and product strategy is no longer aligned with Harman’s,’ commented Jands MD, Paul Mulholland. ‘Following an extensive strategic review of the Australian market, our business and our suppliers, Jands determined to terminate our agreement.

‘This brought to a conclusion a 34-year journey with Harman that commenced in 1984 when Jands was appointed as the Australian JBL distributor,’ he continued. ‘This journey has resulted in my forming great friendships as I worked with Harman to best service our Australian then with other Harman brands, provided some of the most rewarding and enjoyable experiences in my

business life. I have learnt much from Harman and my company has association. It has been a great journey, as together, we turned a enthusiasts into a serious business.

Equally I am looking forward to the

challenges and opportunities in the next phase of our business journey.’

As the Jands warehouse doors in Mascot, NSW open to deplete their pallets of BSS, Crown, dbx, JBL and Soundcraft products, AV Technology Pty Ltd (avt), which has represented AMX for the past 25 years, will be gearing up to take on responsibility of the complete Harman integration and installation audio product suite on 1st February 2018. Meanwhile, AKG, Axys Tunnel and Digitech distributor CMI Audio looks forward to representing additional retail, recording and prosumer audio brands from the Harman catalogue. All other Harman distribution in Australia and New Zealand remains unchanged.

‘At the conclusion of an extensive complexity and taking a solutionsdriven approach as fundamental processes for improving customer experience,’ revealed Harman Professional Solutions, APAC GM

Ramesh Jayaraman. ‘The new distribution model leverages over 60 years of collective experience between avt and CMI in the Australian market, and will provide customers and support structures.’

It would appear that an internal review undertaken by Jands earlier in the year proved to be the catalyst to these events. Following a strategic review of its business, Mr Mulholland’s team created a company structure and product strategy that has realigned Jands for the future. As part of this process, Jands also undertook a strategic review of its key supplier relationships, aligning with partners that have similar strengths and strategic vision.

Over the coming weeks, it will be interesting to witness further aftershocks in the wake of this announcement. For the new distributors, this will mean terminating surplus brands and

plugging gaps in distributor portfolios; something that CMI is already addressing.

‘CMI is extremely excited and humbled by Harman’s vote of take the Harman products to new levels in Australia,’ commented Peter Trojkovic, director and CEO at CMI.

‘Unfortunately we will not be able to continue representing Mackie and HK Audio and thank them for their years of support and friendship, and especially the team at Music & Sales for more than 15 years of always making us feel part of the family. We now look forward to CMI’s new era and the challenges that lie ahead.’ Going forward, it would appear that there is no room for sentiment when it comes to future business strategies.

www.avt.tech

www.cmi.com.au

www.harman.com

www.jands.com.au

Jands’, MD Paul Mulholland

Jands representing Harman at Integrate 2017

Scott Pyle (general manager of avt), Ramesh Jayaraman (Harman APAC VP general manager) and Peter Trojkovic (CMI CEO)

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Quattrocanali arrives in the Southern Hemisphere

to the test before specifying them for the project, the DJW Projects team ran them with EAW KF850s in its production event division’s of Powersoft’s M50Q and M28Q over the years and this not only had the additional power, but the Dante option meant that I didn’t

Ownership restructure at BarcoCFG

AUSTRALIA: Australian Powersoft

distributor Production Audio Video Technology (PAVT) has supplied DJW Projects with four Quattrocanali

Sydney-based systems integrator installed the systems to power 16 channels of Void Venu subwoofers it deployed at the Prince Hotel for its

‘I needed something with some real balls to run the subs,’ declared Dave Coxon, designer at DJW

[PAVT MD] said he had the new Quattrocanali series, we saw it as a great opportunity to use them on

loved the loading options, the heat dissipation and compact size of Having the Phoenix connectors is great and saves installers $100 per www.djwprojects.com.au www.pavt.com.au www.powersoft-audio.com

CHINA: Barco has announced that it will sell 9% of its shares in the BarcoCFG joint venture to China Film Group (CFG) in exchange for RMB175 million,

Barco will continue to act as the joint venture’s projection and Barco and CFG’s joint venture began in 2011 to help develop localised commercial operations, business development and the assembly of digital cinema ownership structure is expected is currently pending customary the change in control, will report

joint venture under the equity

‘The combination of Barco’s technology and China Film Group’s made meaningful and successful contributions to the development China over the past six years, share of over 50% for Barco

cities and sales begin to shift to smaller Tier 3 and 4 cities, we have agreed that China Film Group is best positioned to lead this next phase of development of the shareholder, Barco remains fully committed to the joint venture as a www.barco.com

Music rebrands its tribe

organisation and we’re proud to be to get rid of everything “corporate” and convert into a Tribe where our Tribers’ (employees’) mission is to enable life-changing experiences

WORLD: as Music Group) has once again Tribe, the company is home to

Midas, Tannoy, TC Electronic and organisation’s new web address,

Behringer explained the reasoning

‘Music Tribe is a very different

don’t have any C-level executives nor [a] board of directors, nor are Most importantly we don’t care about shareholder value, the worst objective any company can possibly from what truly matters – your eliminate all corporate nonsense and empowered Tribe where people have clear roles and

‘We are very proud that over the past 30 years, we have built one of the largest and fastest-growing www.musictri.be

The Quattrocanali 4804 amplifiers power Void Venu 12 system subwoofers at the Prince Hotel

The head of the Tribe amongst his friends

Audiotonix acquires SSL

WORLD: Audiotonix has added to its stable of mixing console brands with the acquisition of Solid State Logic

‘We are growing the Audiotonix group with professional audio brands that have exceptional technology, committed people and a real passion for what they do,’

‘With their incredible history and reputation, their enthusiasm and loyal customer base, SSL is ideally placed to be the next partner in the

by having SSL as an integral part

their help to further expand our international reach, technology and

‘I am very proud of the achievements our team have made to date with the expansion of SSL,’

‘To reach our full potential, we need

the support and resources of a larger group to help us achieve our

obsessed about audio, products

Audiotonix’ success in investing in and nurturing similar audio-focused

that this was something we both

As part of the transaction, SSL

‘My relationship with SSL began as a user, a customer and then as part always made wonderful innovative equipment that encourages creativity and I got involved because I never wanted to imagine a world

sale that there are many in this growing Audiotonix group that are as nuts about new tech and good

strengths and idiosyncrasies but through collaboration, there will be a lot of opportunities to spread

by what could be created by all these new potential synergies so I sale money to invest in this newly wish Audiotonix, and all who now sail

www.audiotonix.com

www.solidstatelogic.com

Bose launches products in acoustically unfriendly space

SINGAPORE: Bose recently invited its distributors and resellers from South East Asia, India and South Korea to an exclusive launch of four new products for professional applications at its Singapore regional sales manager, Christian Liebenberg, gave the reason for the choice of location in a newly

‘It’s acoustically the most unfriendly our products typically get installed,

Bose team and guests

as opposed to perfect lab conditions

introducing the present members of his sales team, Mr Liebenberg also announced changes in the recently merged the South East Asian region including India with the

be pulling together the capabilities across the regions in a much more structured way, with a lot more

Angove

Bose’s approach to the conferencing market

THAILAND: Brighton College

The deployment was carried out at the newly opened English-curriculum

The school’s performance arts centre houses a 620-seat theatre, in addition to dance studios, rooms for music lessons and practice, and art and design rooms, as well as Mac suites and a traditional

Sales engineer Scott Angove presented the new products, starting with a conferencing system for use with microphones of any brand, the system consists of four components: the 19-inch, 1U EX1280C, the compact endpoint units EX-8ML and EX-4ML, both ready for under-table mounting and differing only in the number of microphones that can be connected, namely eight or four, respectively, and the by industry experts in scenarios with multiple rooms and a typical conferencing infrastructure, setting up and programming a

Next in line were the new EdgeMax EM180 and EM90 into the product literature, the coverage and sonic performance of A listening test left the attendants

Mr Angove then went on to introduce a new passive, compact dual 10-inch subwoofer, aptly high-excursion woofers as the Bose F1 subwoofer, it is designed for permanent installation in small-tothe Panaray MSA12X, a digitally steerable line-array column steerable arrays of other brands, up to three MSA12Xs avoids the sometimes long lead times of models to offer steerable columns at a very attractive price point,’ stated Mr ‘We were able to showcase our new products to over 100 pro A/V industry members from Singapore and from distributors of the SEAK and SAARC

the two-day event, we had immersive demo sessions where the audience

These new products were deeply appreciated by our customers, who have shared highly encouraging pro.bose.com

it is the purpose-built auditorium with state-of-the-art facilities for music, art, dance and drama that has been equipped with the

system that comprises left and enclosures, below a single 15-inch

pair of RS15 cabinets that provide have been placed along the front of four facing the other way to serve powered by three Nexo NXAMP4x1

www.fuzion.co.th

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The

Scott

explaining

Biamp bought by Highlander Partners

the company and its employees and channel partners.’

Mike Nicolais, vice chairman and CEO of Highlander Partners, explained that Highlander’s investment philosophy is to buy and build. ‘It seeks to build

industries that have the potential

both organic expansion of the existing business and strategic additions of complementary acquisitions,’ he stated. ‘Biamp is an excellent platform company to implement that same strategy in its industry.’

WORLD: Rashid Skaf has assumed the roles of president, CEO and cochairman at Biamp Systems following the completion of the manufacturer’s acquisition by Highlander Partners from previous owner, Lomar Corporation. Mr

stood at the helm of AMX for 15 years before selling it to Harman, led the acquisition of Biamp as a senior advisor for Highlander Partners.

‘I’m extremely excited to have the opportunity to join another truly iconic brand in the A/V industry,’ Mr Skaf commented. ‘Even while CEO of AMX, I was intimately familiar with Biamp and developed deep respect for its products, brand and organisation. So much so that I sought to acquire the company several times over the past 10 years.

I’m delighted to have the opportunity to join and lead the Biamp team. I have no doubt that together we will usher Biamp into an exciting new period of growth

Mr Skaf expanded on the strategy for Biamp going forward: ‘Biamp is one of the most successful professional audio management companies in the world. Despite its undeniable leadership position, I see clear opportunities to grow the market share of its current products and expand into new markets through an aggressive programme of internal development and company acquisition. I will soon reach out to the many excellent suppliers and industry partners Biamp works with today, and those others I have worked with in the past, to build a passionate community committed to meeting mutual growth objectives. I consider the excellence of our extended community of partners to be a critical factor in the future success of Biamp.’

Biamp’s former president and CEO, Matt Czyzewski, will remain with the company as executive vice president of technology.

www.biamp.com

SBS hires Experts for news

KOREA: SBS has replaced the wireless intercom solutions in two of its newsrooms with LaON LT750 Expert systems. The Korean national broadcaster required a wireless intercom setup that would not interfere with other equipment in the newsrooms and had previously equipped its OB vans with LaON intercom systems.

LaON provided on-site support, connecting the LT750 systems to SBS’ existing Adam matrix, while

The broadcaster’s technology and infrastructure planning managers are reportedly happy with the new setup.

www.laon-tech.com

Rashid Skaf

Kayne Partners and Intelsat invest in Dejero

WORLD: Dejero has received a

PA People on a Tiger Trek

Vero hits Full Throttle

Bruce Anderson, CEO of Dejero

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Gearhouse Broadcast acquires Stranger Designs

AUSTRALIA: Gearhouse

Broadcast is now reportedly the only company in Australia that can offer the entire endto-end communications chain for broadcast applications. This follows its acquisition of Stranger Designs, which adds RF, radio mic and IFB solutions to the Gearhouse portfolio.

‘With our size and scope, we can now offer the complete comms package to broadcast networks and producers, event production companies, movie houses and new media companies,’ explained Jason Owen, manager – event communications at Gearhouse Broadcast. ‘We will support existing audio, production and broadcast facilitators with a cost-effective means of securing both leading-edge and trusted technology solutions that meet their requirements.

Stranger Designs has also been instrumental in developing motorsport accessories and solutions over many years. With access to this product range, we will now expand on our offering to become Australia’s leading

motorsport communications solutions provider.’

Stranger Designs is led by RF comms engineer Rod Stranger, who expressed his delight that his company had been incorporated into Gearhouse Broadcast’s event comms division. ‘There

DPA Microphones expands

are great synergies between the two companies and, as a joint force, we can offer a total comms package like no other company in Australia,’ he reiterated.

Cosmo’s ship

HONG KONG: Cosmo Pro AV was recently approached by the Hong Kong Marine Department to assist Media Go to build a 270° seamless edge blending screen installation at its training centre, to simulate the environment aboard the bridge of a ship. The installation included run Wings Vioso software, including Vioso’s multi-camera calibration system.

A pair of Wings Engine Stage media servers capture the images from the simulator software, creating a image produced by seven Barco FL35 projectors. The simulation experience includes myriad scenes, such as the

darkness of maritime nights.

‘The limited projection distance meant that the camera positions were critical for the ship simulator project,’ explained Jason Yeung, Cosmo Pro AV’s CTO. ‘Located in the centre of the simulator was the control bridge, which partially obstructed the camera views. Ultimately a total of seven cameras were needed to fully capture each projection image. Thanks to great technology and the support of

successfully deliver exactly what the end customer had envisioned.’

www.avstumpfl.com

www.cosmoproav.com

www.vioso.com

‘Rod is one of only a very small handful of RF comms engineers at this level in Australia,’ added Mr Owen. ‘Along with Rod’s extensive experience, our acquisition of Stranger Designs also brings with it some cutting-edge comms kits which will help us expand further into both motorsport and into radio mic and IFB dry-hire platforms with the very latest Kenwood, Lectrosonics, Sennheiser and Shure Axient Digital platforms.’

www.gearhousebroadcast.com/au

WORLD: DPA Microphones has added to its global operations with the acquisition of British distributor Sound Network and the establishment of DPA Germany. These join the manufacturer’s head

Microphones Inc in Colorado and DPA Microphones Ltd, which handles APAC sales from Hong Kong, as part of the company’s worldwide network.

DPA Microphones and Sound Network have enjoyed a close working relationship for more than two decades and the decision to purchase the distributor was made by the Danish manufacturer following Sound Network founders

Aimline steers sound at Our Tampines Hub

SINGAPORE: Our Tampines Hub opened its doors in August 2017. In addition to the A/V solutions covered in Pro AVL Asia’s November–December

2017 edition, Aimline ALX Series speakers were installed either side of a large LED screen mounted on the outside of the Hub’s mall.

‘Our Singapore distributor, EAR, asked us to suggest a discreet intelligible audio solution for a Hub mall,’ recalled Nigel Miller, international sales and marketing manager at Aimline. ‘The speakers needed to be mounted alongside a large display screen on the wall of the mall, which was facing out into and buildings.’

a system capable of 106dB (peak) SPL at 90m, while maintaining clear, intelligible audio over the given area. ‘The Aimline digital beam steering ALX series was an obvious choice, with its ability to be cascaded from an 8-way to a 48-

Pete Wandless and Ralph Dunlop’s announcement that they intend to retire from the business.

‘By acquiring the business, we can maintain our close cooperation with the company and build on the strong relationships Sound Network already has,’ said DPA CEO, Kalle Hvidt Nielsen. ‘Our opportunity to get everyone in the DPA sales channel, even outside the UK. DPA is growing at a rapid pace and is committed to developing new products that customers.’

Sound Network will retain its name and business will continue as usual, as will its distribution arrangements with other manufacturers. Its sales and marketing director, Adam Pierce, will now lead the company and report to DPA’s EVP of sales Nikolaj Forsberg.

On a similar note, DPA has established a dedicated sales team in Germany to strengthen its presence in the country. From March 2018, the manufacturer’s German distributor, Mega Audio, will become a master dealer, while DPA Germany will have overall responsibility for all sales in the region.

www.dpamicrophones.com

‘Two ALX40 columns (each formed were installed into cavities beside the screen. The four audio beams were adjusted to cover the required

from the nearby hard industrial

surfaces. The loudspeakers were also treated to the highest IP rating possible due to Singapore’s very high humidity.’

www.aimline-audio.com

www.ear1999.com

simulation

Rod Stranger

‘With our size and scope, we can now offer the complete comms package to broadcast networks and producers’

Adam Pierce will now lead Sound Network

An exposed ALX40 column during installation

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K-array gathers global distribution network

WORLD: K-array recently held its annual global distributor meeting (GDM) at its newly renovated K-hall venue in its hometown of San Piero a Sieve. A total of 62 guests from more than 30 countries attended the event to hear about the Italian manufacturer’s strategy going into 2018, as well as details of upcoming products.

As representatives from around the world converged in the small Tuscan town on a Wednesday evening, K-array provided the opportunity for peers to network with each other during a loudspeaker assembly team-building challenge, dinner and a jam session for the more musically inclined of its guests.

The GDM began the following morning with an introduction from astronaut and aviator Maurizio Cheli, who highlighted the meeting’s

theme of Changing Perspective with examples from his career with NASA. ‘We were really inspired by the astronaut,’ said Shawn Teoh, president of Nextrend from Malaysia. ‘I think it really captured the theme of Changing Perspective. It was fantastic.’

strategy were discussed by K-array co-founder and president of R&D Alessandro Tatini and marketing and communications manager Andrea Torelli, respectively. Strategic sales and business

development manager Stefano Zaccaria, project consultant

Daniele Mochi and customer service specialist Daniel Strassera all discussed new vertical markets that K-array is targeting, while product specialist Francesco

Maffei introduced new innovations and audio solutions. The meeting concluded for the day with guest presentations delivered by local lighting professionals from Zero55 and Bjorn van Munster of Astro Spatial Audio, who shared the stage with K-array’s Klaus Hausherr. That evening, following dinner, Margaux Asteghene, PR and advertising specialist, Ilaria Scotto, sales account coordinator and Laura Giusti, HR manager, hosted an awards ceremony to celebrate the best K-array applications during the past year. The categories were best installation,

best large-scale application, best nightclub, most unique project, best concert/live show and 2017 distributor of the year. The Middle East performed particularly well, with Turkish distributor Lotus Technology taking the award for best large-scale application for its work at The Land of Legends theme park, while Procom, which serves as the manufacturer’s distributor across the Middle East region, scooped best nightclub for White Nightclub Dubai, as well as the honour of being named K-array’s 2017 distributor of the year. The meeting concluded on Friday morning with small group meetings in which product and project specialists explained new products in detail, responding to distributor questions and collecting feedback.

www.k-array.com

Christie and Avollusion light up Hong Kong

HONG KONG: Christie and technical event production company

Avollusion recently teamed up to deliver light installations and video projections at several landmarks during the inaugural Lumieres Hong Kong festival. The festival made its debut in celebration of the 20th Anniversary of the Hong Kong SAR Establishment over three nights across Sheung Wan, Soho, Central, Tsim Sha Tsui and Kowloon. For the festival, Avollusion deployed six Christie Boxer 4K30 projectors at the General Post projection mapping performance

titled The Anooki Shake Up Hong Kong, created by French artists Moetu Batlle and David Passegand. Meanwhile, at City Hall, 16 of the projectors showcased E-motion by Yves Moreaux on the building’s façade. Additionally, the Former Kowloon-Canton Railway Clock Tower was lit up by six WU14K-M 3DLP projectors, displaying interactive design agency Vendredi 4’s Long Striker. This projection featured a digital participative element where visitors could challenge each other and become involved in lighting up the Clock Tower, while also trying to achieve the highest score.

Justin Choy, managing director at Avollusion, noted that his team had been working on the technical design since the festival’s conception. ‘Due to the scarcity of space, we have had to come up with unique solutions to counter the challenges of executing projection mapping projects in Hong Kong,’ he said.

www.avollusion.com

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www.christiedigital.com

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SOUNDBITES

JOE PHAM NAMED PRESIDENT-ELECT AT AVIXA

WORLD: QSC president and CEO, Joe Pham, will serve as president-elect of the 2018 board of directors for AVIXA (formerly InfoComm

Pham’s fourth consecutive year on the Avixa board. In 2017, he served as its secretary-treasurer.

Adamson S10s on Aisle 6

AUSTRALIA: Aisle 6 Productions has increased its inventory with the acquisition of 16 Adamson S10 line array cabinets and eight S119 subwoofers, as well as four Lab.gruppen PLM12K44

Adamson solutions were chosen by the rental company’s owner, Scott Mullane, and delivered by the manufacturer’s Australian distributor, CMI Music & Audio.

‘When I tour, I mix on a lot of top-tier PAs, and each leading brand has its strengths,’ explained Mr Mullane. ‘I was attracted to Adamson because of the unique design features such as Kevlar drivers and 19-inch subs, in

vocal path stays really smooth and musical.’

had headset mics come on stage with just a high-pass on them, and nodes; it was very surprising. We got through all of the gigs and had no problem with SPL over 70m.

‘We also used the S10 rig at the Red Deer Music and Arts Festival, furthered. ‘We were going to do eight elements a side, but we were able to rig two of the S10 mid-highs

‘Part of Avixa’s rebranding and focus more on the user experience,’ Mr Pham explained. ‘As this industry shifts into a world of convergence, Avixa is globally and offer additional support and programmes to its members. It really is an

I’m thrilled to be part of this transformation.’

www.avixa.org

www.qsc.com

TOA SINGAPORE LAUNCHES REDESIGNED WEBSITE

SINGAPORE: has refreshed the user experience for visitors to its Singaporean website. As well as a new design and layout, new functionality has been added, company’s subsidiary websites covering operations in Indonesia, Also new is an integrated brochures that are available to download, in addition to linewebsite updated with regular announcements, news releases and project references.

www.toa.com.sg

has a lower crossover point than acoustic anomalies caused when you push high SPL through a midhigh box are heard in the crossover

With the Adamson crossing over much better to high SPL, and the

also proven beneficial. ‘One person can pre-rig all the element’s angles on the dolly in the factory,’ noted Mr Mullane. ‘Even when the system is in the air, or groundeasy for one person to change the angles. It’s a pin, a slide, a re-pin and you’re done.’

Following delivery, Aisle 6 immediately put its new systems to the test. ‘I wanted to put the S10 in its worst-case scenario,’ Mr Mullane recalled. ‘It was two days of school events, outside on the school oval. were going from a string ensemble, to a dance group, to a band, all with Adamson presets in the processors, and didn’t use any graphic EQ. We

d3 Technologies dons a new disguise

WORLD: Media server manufacturer a change of name to disguise at the recent LDI exhibition in Las

Vegas. According to the company, the new name follows a year of ‘momentous’ growth that has seen its international user base swell, and

the company’s history. new online home for the manufacturer,

Shure ensures energetic discussion

THAILAND:

Ministerial Energy Roundtable (AMER7) was recently held across

conference was co-organised by the United Arab Emirates, and Mighty Mice was appointed to provide simultaneous interpretation and discussion systems. As a Shure partner, Mighty Mice deployed an integrated solution comprising the manufacturer’s DDS 5900 and DCS 6000 digital conference systems, as well as DIR digital infrared audio distribution systems.

More than 300 attendees representing 30 member countries and a multitude of energy organisations were present at AMER7, which sought to identify secure, affordable and equitable energy transition pathways in Asia. Discussion among delegates in the main ballroom was facilitated by 50 DC 5980 discussion units, powered by a DIS-CCU central control unit.

based control software enabled

control and manage the conference equipment throughout the event.

A major challenge for Mighty Mice to overcome was ensuring distribution of digital infrared signals across all rooms, especially since interpreter booths were located in a different venue to the opening ceremony, press conference and

interpreter booths were set up with 10 Shure IS 6132 P interpreter units, which were controlled by the DIS-CCU. Meanwhile, four RA 6025 digital infrared radiators delivered infrared signal coverage

Adamson’s Blueprint AV prediction software. Red Deer has dual stages running concurrently, and the distance across the front is 25m.

Using Blueprint AV, we found a nice position for all eight subs across the front, avoiding lobes and nulls.

we were impressed by how accurate it was.’

www.adamsonsystems.com

www.aisle6.com.au www.cmi.com.au

which has moved its website from d3technologies.com to disguise.one.

www.disguise.one

Union event in Bangladesh in April 2017, we have earned the Ministry’s support capabilities, and have been said Papon Wanitchapiwong of any experience with Shure’s digital infrared audio distribution system, it several times in the days leading

throughout the main ballroom, while 325 DR6032 delegate receivers allowed delegates to listen to the conversation in their preferred language.

‘Following our successful execution of the 136th Inter-Parliamentary

high hopes for successful execution during the event.’

www.mightymice.asia

www.shure.com

Scott Mullane

Joe Pham

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AUSTRALIA: JPJ Audio once again designed and implemented the audio system for the musical performances that take place before and after the AFL Grand Final. The rental company has been supplying the event for six years now and is well versed in handling the major challenges that the event presents: the size of the venue (the playing has a 500m circumference) and that everything needs to be set up quickly and taken down just as fast for the match to begin.

‘We do a rehearsal during the week where it all has to be wheeled out and struck down afterwards, and then we do a soundcheck and out it all goes again,’ explained James Kilpatrick, sound designer at JPJ Audio. ‘We also have a large amount of outputs as we’re driving the TV OB for the music, sending a mix feeding the ground and the media. It takes us about a week to wire and thoroughly check all of the outputs as there are so many, including various mix minus feeds.’

ins was employed, running Pro Tools, while also adding markers for memories via snapshots, as rehearsals on the Thursday and

James Kilpatrick

the feeds via matrix mixers, line drivers and active splitters. The SD11 was set up to mirror the

meanwhile, was responsible for the fully redundant Pro Tools replay,

All control equipment was on a UPS (uninterruptible power supply) and timed. The JPJ team also carried out extensive power failure tests in the factory leading up to the event.

sent directly to me so that was a bit easier than years previously,’ said

Birkett (JPJ Audio’s head system engineer) could change any part of the PA or any part of the zoning, or without asking me.’

The Killers were this year’s act. For their set, JPJ Audio rolled 16 carts,

runs in mono with redundant loops of signal and power so the most you could lose would be two or three even broadcast for about 15 to 20 minutes without power although the speakers would fail. We could have got quite complex and I try to keep it as simple as possible, especially as so many complex things have failed at this event in the past.

‘As The Killers have so many electronics such as sequencers, synthesisers and keyboards, we had that all bussed down a series of

‘We took the vocals, guitars and drums all separate but it was condensed across 16 lines instead of say 56’.

As this was a live event going out live, communication was also key. ‘RF can be a problem and, in the past,

‘This year Frontier Production brought RF and communications. He lowered the power on all of the radios, allotted all of the frequencies and it worked incredibly well. Everyone is amount of slap back in the playing

www.jpjaudio.com.au

Content is king for NanoLumens

WORLD: NanoLumens has launched a white paper ebook highlighting the importance of content when it comes to developing LED displays. Titled LED Displays: Content at the Core, the publication aims to provide an insight into the overall development process and an

understanding of the role that content plays in the life of an LED display.

creation of a complete LED visualisation solution that achieves the highest levels of customer engagement,’ said Joe Lloyd, vice president of global

marketing at NanoLumens. ‘With the release of our white paper ebook, we hope that we’re able to provide a more thorough understanding of the fundamental steps involved in creating an effective LED solution.’

www.nanolumens.com

Penn Elcom establishes Mumbai distribution centre Robe comes to a Transliminal Pointe

INDIA: Penn Elcom has opened the doors to a new distribution centre in Mumbai. Located in Vasai, it will be led by Rodney D’Monte and initially operate with six members of staff. The business decision follows the success of a similar setup that the in China.

another star performer,’ said Penn ‘Mumbai is a major commercial and

rawness and the sheer potential remind me of how I felt about China

The distribution centre will focus on

equipment such as Amphenol cables and Neutrik connectors will also take place. Basic hardware will be sourced from the Chinese facility outside bases in the UK.

www.pennelcomonline.com

AUSTRALIA: The Red Bull Music Academy returned at this year’s

was held in Hobart City Hall and

effects were 136 Robe Pointes from MPH.

‘Robin had been approached streamlined, dark and moody laser artist but he soon realised the project was more suited to a dramatic yet simple, which is why we came up with what is

The Robe Pointes, distributed by Jands in Australia, were reportedly chosen as a reliable fixture was required with a sharp beam that would be quick, yet accurate,

‘I found the Robe Pointes to features that I really enjoyed,’ and the prism were real mood be indestructible, and we didn’t

Robin 100 LED Beams to the DJ booth to draw the crowd’s attention in that direction. ‘That way the crowd had a central point of focus around the DJ, rather and at other times harsh.’ additive.lighting www.alia.com.au www.jands.com.au www.robe.cz

Prashant Tandle, Rodney D’Monte and Sachin Wagare

DiGiGrid in Sync

JAPAN: Renowned producer, arranger and musical director

Hiroshi Suzuki has designed a state-of-the-art studio space, Sync Live Studio M. Mr Suzuki oversaw the selection of everything from the technology to the fabrics installed in the studio lounge. This included a DiGiGrid M recording interface that has been custom-mounted into a table.

with eight DiGiGrid Interfaces that are linked together across its various spaces. As well as the

M installed in the lounge, the manufacturer’s wares can be found in the DJ booth, the vocal booth and the control room via DiGiGrid’s SoundGrid network.

Inside the vocal booth is a DiGiGrid D, which connects to the main control room, and another is hooked up to a MacBook Pro in the lobby. The control room combines a Pro Tools HDX system with a DiGiGrid DLS, the latter providing real-time DSP expansion and bridging the DiGiGrid SoundGrid Network to the DAW.

have dropped by routing analogue sound across a long distance, but the DiGiGrid solution prevented this issue. Without DiGiGrid, this place would have ended up just as

a lounge; instead, it is a beautiful and comfortable network-connected recording space.’

www.digigrid.net

‘Without DiGiGrid, the cables would design would have been interrupted by the patch bay on the wall,’ explained Mr Suzuki, who is also the representative director at SinkLive Japan. ‘The sound quality would

Community announcements at Ikea Goyang

KOREA: Inter-M Corporation was appointed to provide the BGM and PA systems for the new Ikea store Goyang. Byoung Dock Choi from Inter-M’s systems integration from Community Professional Loudspeakers due to the warehouse-style store’s high ceilings. The Community speakers were also chosen for their acoustic performance and aesthetic look.

While Inter-M handled the design, supply and commissioning of the solutions, Samjin Elex assisted with the installation.

The system is formed of five DP6 6.5-inch pendant loudspeakers and 62 8-inch DP8s that have been deployed throughout the 164,000m 2, multi-storey store.

These are driven by Inter-M DPA Series amplifiers, while Inter-M 7000 Series equipment offers

input, control, monitoring and zoning capabilities.

The installed solution reportedly achieved even coverage across the store between 80dB and 85dB. This exceeded Ikea’s requirements for clear announcements and background music.

www.communitypro.com

www.inter-m.com

Hiroshi Suzuki

Ikea Goyang

Sync Live Studio M

Dave Christenson passes away

WORLD: Tracktion Corporation

Christenson lost his three-year

distinguished sales career in the pro audio industry and in doing so touched the lives of many along the

Telestream appoints new CEO

WORLD:

Castles has announced his retirement as CEO after 20 years at the helm. The move Puopolo take over the position

spent as director of international sales for Euphonix led him into of the Californian manufacturer’s Hong Kong facility. In addition to the facilitated sales of the same console to the Sydney Opera House.

on the role of director of international

sales at Loud Technologies for four years. In 2006, he co-founded Audio Agent as a US representative for distribution and marketing services opted to pursue the development

such a happy sort of fun guy to be

Euphonix and Loud Technologies that his upbeat attitude left its imprint

style of artful diplomacy, favouring to debrief me over drinks at the bar rather than adopt a corporate approach. He never had anything bad to say about anyone. To a large to the opportunities this great man afforded me at the start.’

attitude.’

Vue provides coverage as Kimura KOs Shiming

CHINA: Jiexin Rental Company provided the audio solutions at the Shanghai Oriental Sports Center

Sho Kimura and Chinese Olympic gold medallist Zou Shiming. While Kimura scored an upset knockout victory in the 11th round, the rental

featured musical performances from Chinese artists Jason Zhang and JJ Lin.

retire is not easy,’ commented

man to take this business to the next level. We have achieved a lot over the last 20 years, of 11 to over 400 dedicated Scott, the board and the rest of the executive team on a transition that ensures that the next 20 years are our most successful ever.’ an active board member and ambassador for Telestream.

Telestream has developed into one of the most dynamic players in the media and entertainment sector and I am both honoured and humbled to have been for Telestream’s bright extending Telestream’s industry leadership.’

www.telestream.net

‘Given the 360° audience area, hanging point and the national performance ratio,’ said Li Jie, chairman of Jiexin Rental Company. The main PA setup comprised Continuous Source Topology (CST) featuring six al-8 elements and four

arrays, consisting of six al-12s each,

The Jiexin team praised the CST of the systems used to a minimum. sonic consistency,’ said Jiexin FOH engineer, Lv Jie.

‘In the preparatory phase, our technical team completed different sound solution simulations through sales manager, William Xu. ‘In the of elements under the premise of enough SPL.’ of al-Class could output much distance,’ concluded Li Jie. ‘While [Zou Shiming’s] loss, everyone system’s performance and the perfect sonic character.’

www.vueaudio.com

Alcons delivers a Platinum cinema experience

INDONESIA: FlixCinema, founded by Agung Sedayu Group, has opened its Jakarta’s Pantai Indah Kapuk district. KC Sound managing director Kek the sound system for the cinema’s Hall, and deployed an Alcons Audio ‘The Platinum Hall only seats 24 a premium price for the best movie experience and I felt they deserved

very glad they agreed, because it Alcons Audio system to be installed in an Indonesian cinema.’

calculations to determine the setup,

nothing but the best available

SR compact reference surround

The manufacturer’s Sentinel3

‘The customer feedback has been ‘Platinum Hall tickets are selling faster than any of the other halls, despite the fact that the ticket price is almost three times that of the regular screens.’

www.alconsaudio.com

Shanghai Oriental Sports Center

Li Jie, board chairman of Jiexin Rental Company

Al-class hybrid arrays: six al-8 elements and four al-4 elements under hung

Chinese performer, Jason Zhang

An audience enjoying the Alcons setup in the Platinum auditorium

Scott Puopolo

Appearing on American Bandstand with the Stabilizers

L-Acoustics supports Winly at the GMAs John Stiernberg: 1951–2017

TAIWAN: Winly Engineering & Trading has worked on every edition of the Golden Melody Awards (GMAs) since they began in 1990. This trend continued at the 28th edition of the GMAs, as the systems integrator deployed an L-Acoustics setup at this year’s host venue, the Taipei Arena.

‘A big challenge for the system design was the shape of the venue, its limited rigging possibilities and the fact that system in front of the stage,’ recalled Winly’s president and production manager for the event, Andy Chen. ‘With the help of L-Acoustics’ Alvin Koh, we made an initial design of the system with L-Acoustics 3D acoustical simulation programme, Soundvision, to provide us with the optimum result.’

The system design comprised left and right hangs of six K1s plus 10 K2s. The K1s were directed at the raked seating at the back of the arena, while the K2s covered

each consisting of eight Kara other Kara hangs were used as front of the stage.

‘There were many restrictions, one of which was that the main

to provide better sightlines for the stage design,’ explained sound engineer, Mike Li. ‘All the the sightlines, with two arrays of six SB28s per side hung in a in front of the other, offset in the vertical – to provide all the sub harmonics needed for the venue, while achieving great control on the stage area. We knew that by choosing this combination, we would be able to deliver the audio requirements for the event.’ Mr Chen was thankful for the assistance provided by Mr Koh and L-Acoustics. ‘Despite all the challenges and restrictions, we produced an optimised design for the event,’ said the Winly president. ‘Everyone was impressed with the directivity control, even coverage and tonal balance of the L-Acoustics system for every seat in the arena.’

www.l-acoustics.com www.winly.com

WORLD: John Stiernberg, president and founder of Stiernberg Consulting, has passed away aged 66 following a battle with cancer. Mr Stiernberg is survived by his wife of 45 years, Jeanne Stiernberg, with whom he co-founded the consulting business in 1993.

Stiernberg Consulting is a business development consultancy that entertainment technology industry. Despite having worked with, and guided, many of the industry’s key players, Mr Stiernberg kept a low

scenes to keep the spotlight on his clients.

Mr Stiernberg was also a strong advocate of music and technology education, playing an active role in numerous trade organisations, and Cedia. He regularly contributed to industry publications, writing hundreds of white papers and reports, as well as authoring a guidebook to the music industry: Succeeding in Music: Business Chops for Performers and Songwriters

www.stiernberg.com

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Andy Chen

John Stiernberg

Analog Way acquires Picturall

WORLD: Analog Way has added media servers to its product portfolio of real-time video processors with the acquisition of Finnish manufacturer Picturall. The merging of the two companies will reportedly spur new turnkey solutions for the French manufacturer’s business partners and major distributors will begin promoting Picturall products and technologies. ‘We are pleased to welcome Picturall‘s team to the

management technologies. We portfolio with Picturall’s media server solutions. Their reputation for reliability and high performance perfectly aligns with our product development philosophy.

Complementarities between our product platforms and applications shall offer us tremendous

opportunities to better serve our customer base.’

‘Picturall’s acquisition is not merely

Marubeni chooses YVC-1000 for unity

JAPAN: Marubeni relocated to a Japanese conglomerate invested heavily in technology to facilitate remote meetings for its employees. This included the purchase of more Skype for Business and an upgraded communication (UC) infrastructure.

Yamaha’s YVC-1000 USB/Bluetooth speakerphone as an integral

Arrayable Point Source

will ultimately enable us to deliver across multiple A/V sectors.’

Samuli Valo is delighted to join the Analog Way team. ‘We have known Analog Way for a long time and have always been impressed

values and passion for technology; this is key for long-term success.’

‘Analog Way’s sales and service network shall afford us access to Laasanen.

envisioning a plethora of ideas for new products. Joining Analog Way will most certainly allow us to jump

www.analogway.com

www.picturall.com

part of its conferencing solution. YVC-1000 units were installed in 25 medium and large conference rooms throughout the company’s new headquarters. Room capacity varies from eight to 30 people

microphones were linked to ensure

can connect their Bluetoothenabled iPads to the YVC-1000 remote locations connect via Skype for Business.

‘The sound quality and volume range can be achieved even in our and planning for Marubeni’s information strategy department. ‘In connection tests done under the YVC-1000’s sound quality was far superior. That was the reason why we decided to use it.’

www.revolabs.com

www.yamaha.com

ONE for ALL

The most flexible solution for medium size applications

The new Coda Audio APS combines the userfriendliness of a point source with the perfect arrayability of a line array creating a unique category in sound reinforcement.

1/4 PAGE

L-ISA makes worldwide debut

Nova goes big for DWC2017

WORLD: German manufacturer Nova Acoustic once again welcomed its global distribution network to its headquarters near Munich for Distributor World Congress 2017. Reportedly the largest in its history, the biennial event saw partners from more than 50 countries attend for three days of activities, knowledge sharing and a sneak peek at the company’s latest compact line array solution, Pariz.

WORLD: Mercury Space Moscow

(Immersive Sound Art) immersive audio system installation in the world. The solution was recommended by L-Acoustics distributor Sonoruss, as the owner of the nightclub, located on the 40th storey of the Mercury City Tower in the Russian capital, sought a ‘unique’ sound system.

‘We introduced the venue’s owner to the new multichannel L-ISA system, using Kiva II and KS28 when they visited the L-ISA Lab in Highgate,’ recalled Igor Verholat, CEO of Sonoruss. ‘We suggested that they could do the installation in two phases to spread the cost, but he was so blown away by what he heard that he decided to have the complete system installed straightaway.’

The installation was carried out by Theatre Technique and Technology with assistance from the Sonoruss and L-ISA teams. L-ISA is an immersive audio technology that combines L-Acoustics’ sound design and loudspeaker systems with processing tools to create a hyper-realistic soundscape for live shows.

‘L-ISA provides an amazing localisation of sound sources that immerses the listener in the sound space,’ noted Alexander Ananiev, acoustic engineer at Sonoruss.

‘It provides a hyper-realistic soundscape for the audience and gives sound engineers advanced surround mixing tools during live events, which is a big step forward from traditional 2-channel sound systems. L-ISA can enhance the spatial impression, even when reproducing a conventional 2-channel mix, because of the so-called “upmix”. For example, a DJ’s performance in this hall would sound spatially more enveloping, even with a 2-channel source.’

Mr Verholat added that with L-ISA installation, the project was managed from the L-Acoustics immersive sound brand’s headquarters. ‘During the installation, Sherif el Barbari, director of L-ISA Labs, trained all the engineers that will work with the system on a day-to-day basis,’ he explained. ‘Calibration

and tuning of the system were carried out by Sherif and Julian installs, L-Acoustics, and the Sonoruss team.’

The 975m2 venue is U-shaped with a stage at its apex. The L-ISA system was designed using L-Acoustics Soundvision 3D acoustical simulation programme

Kiva II arrayed across the front of the stage, as well as two SB18 subwoofers positioned one either side of the centre hang and two KS28 subs ground-stacked either side at the front of the stage. Providing even coverage across the rest of the venue are eight X12s, positioned at the top of the walls on the sides and opposite the stage, while 10 X8 cabinets

to cover each of the U’s ‘arms’. The system is powered by LA4X

www.l-acoustics.com

www.l-isa-music.com

www.tttpro.ru. www.sonoruss.ru

Opening with some impressive statistics, marketing and sales director Markus Falter explained that Nova had so far sold over 250,000 speakers since its creation in 2004. Pariz, it hopes, will position the company at the top of the congested line array market, based on its performance and price attributes. Joining Mr Falter on stage was Pedro Enguidanos from beyma and Peter Collins from Linea Research. The Pariz system integrates a bespoke 18-inch long excursion transducer from beyma, and Mr Enguidanos explained in detail the manufacturing developments that he believes make beyma transducers unique. This was followed by a

SSM allows Fuji TV to scale greater heights

JAPAN: Based in the Minato district of Tokyo, Fuji Television Network broadcasts three channels (One, Two and Next) in HD to its Japanese viewers. Having celebrated its 60th anniversary in 2017, the network creates many drama and reality programmes in-house from its four production studios at the Odaiba headquarters. Following the recent television spectrum conversion in Japan, Fuji TV’s audio engineers were acutely aware that their inventory of wireless receivers and transmitters had become redundant.

‘This enforced change provided us with an opportunity to discover what new technology was available in the market,’ explained technical engineer, Takeo Karato. Following a full investigation, Mr Karato and

his team were made aware of the system demonstrated by Tech Trust Japan Co. Ltd. ‘I was introduced

to a Lectrosonics model called the SSM Digital Hybrid Wireless, whose wireless transmitter weighs just 65g. With 3,072 frequencies available

across three standard frequency blocks across a maximum tuning range of 76.7MHz, this was more than enough for our requirements.’

In addition to operating within the new spectrum, the actors and actresses using the SSM transmitters were all quick to praise Mr Karato on his selection. ‘The SSM is ideal for use in all our productions, but particularly where concealment in costuming is required. The

as we have never encountered any dropouts to date. In spite of its tiny size, the discrete transmitter performs on par with other wireless systems and crucially it is simple to use.’

Each of the four studios is now equipped with six SSM/E02-C2

thorough overview from Mr Collins of the design and various components

power Pariz, reportedly built from the ground up.

Following the audio lectures, guests were treated to a gala dinner set to a backdrop of funk and soul music played across the new Pariz line array from the band Soul Kitchen. Summing up the success and effort that had gone into the congress event, Mr Falter noted: ‘If you sum up all the miles that our visitors have travelled to be here with us, that’s twice the distance from Earth to the Moon.’

www.novacoustic.de

wireless channels together with CHS12 charging stations for the LB-50 lithium ion batteries that provide six hours continuous use. Additionally, ALP620 skeletal remote antennas were ordered to decrease wind loading, while providing directional pattern over a broad frequency bandwidth. For location recording, six channels of Venue 2 receivers were chosen in combination with SDMa series transmitters, whose water-resistant control panel with LCD and multicolour LEDs allow adjustments and selections without having to view the receiver.

www.fujitv.co.jp

www.lectrosonics.com

www.tech-trust.co.jp

Distributors examine the features of the Pariz

Director export sales and global marketing director Markus Falter, CEO Heinz Schwarzmüller and director Ernst Ranzinger

Fuji TV’s Takeo Karato praising the SSM features

NEP looks to Ross for transition to IP

AUSTRALIA: NEP Australia has purchased multiple AIMS-compliant solutions from Ross Video to support its shift to an all-IP production infrastructure based on SMPTE ST-2110. The purchase includes the recently announced Newt, a family of point-of-use IP signal converters that feature open control with Ross DashBoard, NMOS IS-04/IS-05, Ember+/Ravenna and a published JSON API for custom integrations. A provider of outsourced broadcast solutions in Australia, NEP is in the process of transitioning from an SDI to an all-IP infrastructure for outside broadcast and live production from two centralised IP-enabled production hubs in Sydney and Melbourne, allowing for remote

‘Initially, it was the ability to seamlessly integrate with our existing

control system, VSM, that attracted us to Ross. Then we collaborated to create a solution to effectively drive our video monitors, and Newt was born,’ stated Marc Segar, director of technology, NEP Australia. ‘It is this outstanding commitment to interoperability and collaboration that makes Ross such a great partner to work with as we continue on our journey to a fully ST-2110-compliant IP video network.’

‘Even for broadcasters like NEP that are fully committed to building

Enco patents automated captioning technology

an all-IP infrastructure, this is not an overnight transition,’ said Nestor Amaya, director of IP solutions and infrastructure product marketing, Ross Video.

‘We are pleased to work with NEP to deliver future-proof solutions address their signal conversion Production.’ www.nepgroup.com.au www.rossvideo.com

WORLD: Enco Systems has acquired a patent in relation to its enCaption series of automated captioning solutions. The patent is registered in the USA and is titled Method and System for Providing Automated Captioning for AV Signals. This, Enco states, expands its intellectual property for captioning technology and methods that enable its customers to automate and accelerate speech-to-text translation to deliver open or closed captions.

The enCaption solutions are designed to provide accurate captioning for live and recorded content in near real-time. New developments that form part of the patent include improved accuracy of enCaption’s speechto-text engine, making use of the latest machine learning technology to take a deep neural network approach to voice recognition. The patent covers a method for

separating an audio signal from a combined A/V feed, which then converts the audio signal to text data. The original A/V signal is encoded with the converted text data to produce, record and display a captioned A/V signal. Also covered as part of the patent is the translation of spoken words from one language to another, with the translated words included in the captioning information.

‘This patent protects the investment of both Enco and our global customers for our marketleading automated captioning technology in broadcast and A/V,’ said Ken Frommert, president of Enco. ‘It also establishes a strong foundation for continued innovation around our enCaption brand as we further enhance speed and precision around automated speech-to-text conversion.’

www.enco.com

Milab and Pearl recombined

WORLD: Milab Microphones AB has agreed to acquire 100% of the shares of fellow Swedish mic manufacturer, Pearl Mikrofonlaboratorium AB. The deal will see the consolidation of Pearl’s operations and product portfolio into Milab.

Based in neighbouring towns in southern Sweden, the two companies have a shared heritage. Both can trace their roots to the founding of PML in 1941 by Rune Rosander in Stockholm. In the late 1970s, PML was divided into separate business units that became two different companies, Pearl and Milab. This eventually led to a permanent separation. Bernt Malmqvist, who had served as production manager for both companies, purchased Pearl in 1988. Meanwhile, Milab was acquired by Thomas Nöjdh in 1993.

The companies believe that the merging of resources and technologies will ‘create considerable synergistic effects’ for both production and R&D. However, the new owner is keen to state that

from a marketing perspective, Milab and Pearl will still be treated as two separate brands.

‘The opportunity to bring these two companies back together after 40 years is a matter of great pride to us all,’ said Mr Nöjdh, who will continue to serve as Milab’s CEO. ‘With the acquisition of Pearl, Milab will strengthen its position as one of the end microphones, and I look forward to growing the business further.’

‘With this agreement, we are exciting Pearl technology is in good hands and will live on for another 76 years,’ added Mr Malmqvist, previous co-owner and exiting CEO of Pearl.

Mr Malmqvist and Sven Olof Andersson, the exiting chairman of Pearl, will support the integration of the two companies over the next few months in a move that the new owner hopes will ensure a smooth transition.

www.milabmic.com

www.pearlmicrophones.com

Anders Sjöberg, Thomas Nöjdh, Bernt Malmqvist, Olle Ström and Sven Olof Andersson

CS Audio adds Klang to Björk’s string section

JAPAN: CS Audio provided a Klang:technologies 3D personal monitoring mixing system for the string section during Icelandic singer-songwriter Björk’s set at this year’s Fuji Rock Festival. The sound hire and production company’s system having been impressed when he deployed it at a Massive Attack gig in Hyde Park.

‘This time the Klang was connected via MADI on a DiGiCo SD8 console,’ explained Mr Hatt. ‘Quick and easy to set up, we were up and running in no time without any issues. I sent groups of each string section, playback mixes, click, vocals and, of course, themselves to allow each musician to quickly achieve what they needed to hear. The Klang

JTS on the red carpet

TAIWAN: A JTS Professional

UF-20 UHF wireless microphone system was put to use on the red carpet at the 54th annual Golden Horse Awards. The ceremony, which celebrates the best of Chinese language cinema, took place at Taipei’s Sun Yat-sen Memorial Hall and was broadcast on TTV. As VIP guests, including Ang Lee and Jessica Chastain, arrived on the red carpet, their voices were captured for interviews by UF-20TB beltpack transmitters and JSS-20 handheld transmitters.

‘The Golden Horse Awards is a very important event that holds a special

world and beyond, so we are honoured to have played a role in making it such a tremendous success this year for everyone who crossed the red carpet,’ said Dowson Yu of JTS Professional.

‘The UF-20’s use at the Golden Horse Awards once again demonstrated its reliability in the most demanding of circumstances and such ease of use that it can be set up in minutes.’

www.jts.com.tw

outputs fed a Shure hard-wired IEM mounted on each music stand, along with a tablet for wireless control.’

Klang’s British distributor, HD Pro Audio, supplied the system. In addition to Fuji Rock Festival, CS Audio deployed it at Björk’s headlining festival shows in Mexico City and Los Angeles.

‘The response from the musicians has been positive wherever we go,’ said Mr Hatt. ‘It delivers a great solution for wireless personal mix control.

‘The 3D processing does what it says – and works. Finding additional placement within an in-ear mix can really tidy things up and enhance the experience.

‘We’ve been so impressed with the Klang system we invested in Klang:fabrik with MADI which, in addition to our own use, is available for hire,’ he concluded.

www.csaudio.co.uk

www.hdproaudio.co.uk

www.klang.com

Paul Hatt

SOUNDBITES

BROADCAST SOLUTIONS INVITES PARTNERS TO SINGAPORE

SINGAPORE: Following the earlier in the year, Broadcast Solutions invited customers and partners throughout the

A Possible disguise for Yuzu

JAPAN: Folk-rock duo Yuzu has been touring their native Japan in celebration of their 20th anniversary. Accompanying them on the tour are three disguise (formerly d3) 4x4pro media servers, supplied by Hibino Corporation, that unify the different feeds needed to push content to the LED back wall, the LED sculpture of ‘Yuzutaro’ and the stage riser LED: one for the main timecode system, one serving as timecode backup and the third as a

opening event. The German systems integrator’s CEO, Stefan Breder, and APAC general manager, Joe Tan, who also serves as head of the Singapore

‘It was a pleasure to meet so many friends, partners and members of the broadcast industry in the Asian region,’ in the centre of these vibrant markets, we will serve our customers even better and are looking forward to increasing our market presence and business in the area.’

www.broadcast-solutions.de

SUN DIRECT GOES ALL IN ON IP

INDIA: Sun Direct has become television service provider in India to deploy an all-IP HEVC to a Harmonic software-based HEVC media processing solution comprising Electra X2 encoders and ProStream multiplexers to expand its HD service offering with an additional 80 HD channels.

‘We ran the show with timecode most often, but some parts are run with the grandMA2 controlling the grand master and switching the camera feeds and content,’ noted Naoki Ogawa, who handled the disguise project set up for Hibino.

‘We also mapped the camera feeds using the parallel map treating

as one big LED wall. Since the show has a 30-minute medley, we used version control. With that feature the content creator doesn’t need to re-render 30 minutes of footage every time. They just have to re-render the part they need to change.’

The content was provided by Possible, an American content creation company. ‘We have used disguise extensively in the past so we knew it would be the best option,’ stated Roy Chung from the ambitious sculptural Yuzutaro LED stage show.

When show director Ijitsu Hiroaki of concept to us, we knew there would but were excited by the creative

opportunities afforded by this unique sculpture.’

The Yuzutaro sculpture is 15m tall and comprises 100,000 hand-

Sun Infonet sets the stage for Audiofocus

partner, Just Audio. The setup here featured four per side Ares 8 line arrays with two stacks of two MTSub218MKIIs and pairs of FR-X15 tops. CM 15 2-way stage monitors were also demonstrated.

‘The event comprised all those musical buffs not only from Goa and Western Ghats, but beyond,’ said Rohit Reddy, manager of projects at Sun Infonet. ‘We wanted to see how these systems would be taken, and they were well received.’

placed LED bulbs with a 70mm LED pitch. Possible worked with various partners in both Japan and the USA. ‘We spent several weeks getting the mapping right, and Nihon Stage

fabrication and LED placement, respectively,’ recalled Mr Chung. ‘The tight schedule meant we would not have much time with the sculpture itself, so the visualiser was indispensable for testing if our content was actually sticking to the sculpture correctly beforehand. When we arrived in Tokyo for technical rehearsals, all that early groundwork we laid meant we only had to do a bit of dialing in on disguise with the help of the programming team from Hibino Corporation.’

Toyokazu Fujisawa from Hibino served as the disguise operator on the Yuko tour, while Tatsuro Ogawa from Orange Collar held the position of video director. Hiroaki Ljitsu of Show Design was the show director and additional content was created by Tokyo-based PICS.

www.disguise.one

www.hibino.co.jp

www.possible.com

Middle Atlantic streamlines with merged department

‘When we looked into expanding our HD service offering, we needed to partner with an expert in satellite deployment S Kannan, CTO at Sun Group. ‘Harmonic enables us to deliver more channels using the same amount of transponder space so that we can focus on increasing subscriber satisfaction and revenue growth.’

www.harmonicinc.com

INDIA: Sun Infonet took on the Indian distribution rights to Audiofocus in 2017. Following an introduction to the manufacturer’s wares it presented to the pro audio community in Mumbai, the distributor has staged similar launch events in Bengaluru and Goa as part of an ongoing marketing programme.

The event in Bengaluru was held in partnership with Sun Infonet’s South India channel partner, Reynolds Inc, at the White Petals Hall in the Palace Grounds. Dealers, consultants and engineers in attendance were treated to an outdoor demonstration of an Audiofocus PA setup comprising two arrays

of seven Ares 8 loudspeakers hung from a vertical truss on either side of a central stack comprising eight MTSub218MKII subwoofers and topped by a pair of FR-X 12 enclosures. Audiofocus’ Asia business director Nicolas Kirsch was on site to monitor the setup and to explain the system

‘We wanted to test out the system in front of our target buyers, which is why we chose this outdoor venue,’ said Felix Remedios, managing director of Reynolds Inc. ‘The systems are powerful.’

The launch in Goa took place at a luxury resort near Porvorim and was staged in collaboration with Sun Infonet’s local channel

The events were deemed a success and more are in the works. ‘We intend to take these events to other regions throughout the country,’ concluded Neeraj Chandra, director of Sun Infonet. ‘There is tremendous enthusiasm about the Audiofocus brand.’

www.audiofocus.eu

www.suninfonet.net

WORLD: Middle Atlantic Products has merged its electrical engineering and power product management teams into a single department. Scott Lowder will lead the new department.

‘With the pace of technology and the time it takes to develop complex products, it is critical for a development organisation to operate as leanly as possible to get the best solutions to our partners quickly,’ said Mr Lowder. ‘This is an opportunity to create a seamless link between our customers and the talented engineers that are working to develop our next innovations that will reliably deliver the expected enduser experience.’ www.middleatlantic.com

Yuzutaro

The AudioFocus launch at Bengaluru

The Goa event

Scott Lowder

Broadcast Solutions’ Singapore office was formally opened

JAA Systems helps FAMA spread its message

MALAYSIA: Having just completed was again enlisted as systems integrator for a complete audio and visual production system in a touring integration and implementation of

RAIN OR SHINE WE

PLAY

The FAMA team

Mahajak checks in to Chiang Mai hotel

THAILAND: Mahajak was enlisted by Tanboon Co for the design and installation of audio systems in the convention hall at the newly opened U Nimman Chiang Mai hotel in Chiang Mai. The project spanned more than a year and included the installation of JBL, Crown, AMX, Soundcraft and Shure solutions. The convention hall has been equipped with eight JBL VRX932LA-1 line array speakers, four SRX828S

subwoofers, four PRX812 and two PRX815 speakers, with a pair of PRX818XLF subs. Dispersed throughout the venue are 15 Control 18C/T ceiling speakers. Crown MA 5000i, MA 9000i and CDi 1000

audio capture, Mahajak supplied six Shure BLX24R/SM58 handheld wireless microphone systems, six MX418 D/C gooseneck microphones and the same number of SM58s.

RTM Johor goes digital with ADAM

MALAYSIA: Radio Televisyen Malaysia (RTM) recently commissioned a digital upgrade at one of its radio stations, Johor FM Permata Selatan. Stagetec Asia has been appointed by Commissioning and Maintenance Services to work on similar projects at some of RTM’s other stations and was enlisted for this project, which included the installation of 16

audio quality of the speakers,’ said Mr Johari, assistant engineer at RTM Johor, when discussing the A8X monitors. ‘We are now able to identify unwanted noise in any music material, especially when we

‘The convention hall is a 1,100m2 space with a height of 7m which can be divided into three subrooms,’ revealed Maruedon Bunphetcharat, sales project engineer from Mahajak. ‘The audio system can be used for all three rooms together or divided, with separate control of the visual and lighting systems. The customer also wants to use this hall for a cabaret show in the future, as well as organising seminars, banquets, concerts and talk shows. So this system will support a range applications.’

www.mahajak.com

are in the middle of converting old CDs to more modern digital audio formats.’

‘We proposed the ADAM A8X active studio speakers to our client and they absolutely loved them,’ said Advon Tan, managing director at Stagetec Asia.

www.adam-audio.com

www.stagetecasia.com

ADAM Audio A8X studio monitors. Stagetec Asia also serves as the Malaysian distributor for the German manufacturer.

Mahajak also installed 13 JBL 8124 ceiling speakers in the pre-function and two Soundcraft Si Impact consoles

An AMX NX-2200 NetLinx NX integrated controller has also been deployed.

Input Media hits Australian sport grounds running

AUSTRALIA: Launched recently in Australia to provide complete end-to-end production solutions, two contracts with major sports federations. This will see the company provide live streaming and broadcast solutions for Cricket Australia and the National Basketball League.

‘It’s fair to say we have hit the ground running,’ said Chris Law, MD of Input Media Australia. ‘Input Media launched in Australia with support end-to-end broadcast production as part of the overall GMG group offering that sees Input Media Australia providing production expertise with Gearhouse

Broadcast, the technical facilities and HyperActive Broadcast, the postproduction. The second goal is

don’t have in-house broadcast or production expertise and are looking particularly at sporting events.’

Input Media was acquired by GMG, owners of Gearhouse Broadcast and Hyperactive Broadcast, in June 2017. The launch of Input Media Australia has followed that acquisition and is the next phase of GMG’s global expansion.

Together with Gearhouse Broadcast, the company is also contracted to deliver the full turnkey live match day production across the 2017/18 NBL season and it has also recently been awarded the contract to supply the host broadcast for the FIBA Basketball World Cup 2019 qualifying matches in Australia.

‘More and more sport is being viewed online, via apps or on smart devices, and this has created a

demand for higher-quality digital live streaming production at a reasonable cost to the content owner. This is the solution that we have implemented for Cricket Australia and now forms a key part of our overall production offering. Both CA and the NBL own their content and are very advanced in their approach to fan engagement and content distribution. They also

Media as the single point of contact across all the service provisions as the key to reliability, successfully implementing innovation and raising the bar on production quality.’

www.inputmedia.tv

Welcome to Epson Town All systems Go for Cinegy

SINGAPORE: The 2017 Epson Projection Conference and Showcase was held at the Singapore Chinese Cultural Centre and among the highlights was Epson Town, a showcase of 3LCD and laser

collaborating with Epson to highlight how integrated solutions can enhance the user experience for projection. The showcase displayed solutions for multi-location collaboration for work, cinematic experiences at home and enhanced customer experiences in retail outlets, as well as the possibilities provided by immersive augmented reality technology in large venues and public spaces.

projection technology designed for use in everyday life. Visitors were treated to live demonstrations of holistic integrated solutions within education, corporate, home, retail and other public spaces.

Extron Electronics Asia, SOTI Inc and Milestone AV Technologies all provided support for the event,

3LCD projector, the VPJ-700,’ commented Toshimitsu Tanaka, managing director of Epson Singapore and South East Asia. ‘Today, we continue to hold the dominant market position as the leading projector brand. In South East Asia, our market share is at 37.7% as of FY17Q1, according to FutureSource Consulting, and we pride ourselves on bringing exceptional value to our customers.’

www.epson.com.sg

KOREA: K-Baduk has launched its new channel, Go, broadcasting popular game. The broadcaster already used Cinegy Air for playout and worked with Sion Media to upgrade to multiple licences for Cinegy Air Pro and Cinegy Capture Pro for ingest and transcoding, as well as Cinegy Desktop for real-time

production, Cinegy Archive media asset management hub and Cinegy Multiviewer 12 for multichannel monitoring to further improve its ability to capture, edit, and playout live Go matches.

‘The range of special interests that have enough popularity to gain multiplatform audiences continues to increase rapidly, and the only

practical way to address those audiences is in software, where channels can be launched quickly,

or permanently, with little or no owner and managing director, Jan Weigner. ‘We are delighted that K-Baduk has been able to take advantage of Cinegy software ways to exploit its power as their commercial requirements and broadcast operations expand.’ Cinegy solution because it has ability to capture, edit, manage and monitor our media and play it out,’ noted K-Baduk programming team director, Lim Seolah.

www.cinegy.com

www.sionmedia.com

Input Media Australia MD, Chris Law

Better performance, quicker setup, immediate payoff: Digital 6000 was developed to exceed the expectations of audio professionals and business managers alike. Our new professional wireless series delivers reliable performance in even the most challenging RF conditions. Intermodulation is completely eliminated by Digital 6000, enabling more channels to operate in less space.

Discover more: www.sennheiser.com/digital-6000

Digital 6000 utilizes groundbreaking technology from our flagship Digital 9000. Dependability is guaranteed by our renowned Long Range transmission mode and proprietary audio codec. Digital integration is seamless with AES3 and optional Dante output. Monitoring and control of the two-channel receiver is at your fingertips, with an elegant, intuitive user interface.

Compromise is not an option when everyone is counting on you.

Aesthetix gestures to the right solution

INDIA: Following a decision by Larsen & Toubro Infotec (LTI) to construct an experience centre at its headquarters in Mumbai, systems integrator Aesthetix Technologies was enlisted to design and install a complete A/V solution. LTI is a global technology consulting and digital solutions company and was looking to create a space that its various business units could use to bring clients and pitch the potential solutions it offers. With this in mind, the A/V equipment needed to be user-friendly and instantly operable without any prior experience. The

entire bid was based on a design from M Moser, the interior designers who conceptualised the space.

‘The client was looking for an area that was visually appealing and open but semi-private, with the ability to have groups split into smaller numbers to continue discussions around particular avenues of interest,’ explained

Sudan Mylsamy from Aesthetix. ‘This led to us building various pit stops, in which each stop has a different A/V infrastructure.’

Aesthetix created six different ‘stops’, as well as a state-of-the-art

boardroom and a variety of digital signage and large displays each able to host a range of video and branded content. The SI called upon laser and traditional projector models from Christie, monitors from Samsung and touchscreen displays from Planar. A Bose in-ceiling sound system was also installed for audio reinforcement in the boardroom. The various pit stops have names like ‘Augmented Reality, Gesture Game, Presentation Software’ and each includes a novel use of technology. The Gesture Area, for example, integrates Microsoft’s Kinect 360 tracking hardware with a 75-inch Planar touchscreen to allow the presenter to conduct interactive and gesture-based presentations. The gesture system was custom built to mimic the functions of a mouse.

‘The challenges that we faced included the customary time crunch associated with all A/V projects, as well as contending with users who had to be trained to use the interactive panels and gesture-based system that we had developed,’ explained Mr Mylsamy.

‘We chose Planar because of their track record of providing robust and quality displays that were 4K. They

also have a vast array of features which make them intelligent by themselves.’

The boardroom offers a sit-down environment where content from many sources can be viewed on a large Planar 84-inch 4K Ultra HD display via cascading windows, controlled from a Creston CP3 control system and Kramer VS-84HN 8x4 switcher. A video conferencing system provides access to remote guests, for which there are nine beyerdynamic BM32 boundary layer microphones along with a Polycom Soundstructure C16 digital signal processor with Telnet card to optimise audio pickup and reproduction.

The entire project took threeand-a-half months in total, which included ripping out the old interior and starting from scratch. ‘We were involved from the beginning with all the A/V coordination and cable routing,’ shared Mr Mylsamy. ‘The took a month each. However, even after the handover, we’ve worked to support the client and guide them

thrilled with the outcome. It’s a really user-friendly system and the DEC is used day in and day out by various business units.’

www.aesthetixtechnologies.com

www.mmoser.com

The boardroom

The curved display area powered by a Christie DHD555-GS laser projector

R&S Prismon

WORLD: Rohde & Schwarz’ R&S Prismon A/V monitoring and multiviewer system has been Dolby enable broadcasters and streaming

P.Audio pops in Phoenix Marketcity

range of media formats with the system for decoding Dolby R&S Prismon was evaluated for www.dolby.com www.rohde-schwarz.com

HH Electronics sets sights on Oz

AUSTRALIA: has established a network of

‘We can’t wait for the new

Times Now goes HD with Wohler monitoring

Wohler’s AMP1-8-M

INDIA: Wohler’s AMP1-8-M audio monitoring solution has been

English language news broadcaster existing audio monitoring units to

Network has used Wohler AMP2www.wohler.com

Quadruple win for Aten

TAIWAN: Four of the receiving end of honours at the modular matrix switch all won at the 2018 edition of

10% increase in the number of candidates for the meaning the also to demonstrate our technology www.aten.com

INDIA: chain can be found all across Phoenix Marketcity mall draws in as well as a blend of classic rock designed to not detract from the

stating that this outlet has the bestdelivers crystal clear audio across the www.paudiothailand.com www.sonotone.in

Ursa Mini Pro captures Japanese rock Mipro returns to the Asia Beatbox Championship

Ursa Mini Pro 4.6K. I shot in 3K anamorphic sensor mode so I used a prime lens for still photography, with an anamorphic adapter, SLR Magic.’ He added that he used Blackmagic’s DaVinci Resolve’s Camera RAW setting to create the desired look he wanted in postproduction.

When Mr Ikeda was then asked to work with Hysteric Panic, he chose to employ the same combination of Ursa Mini Pro and still lens with SLR Magic. He also used the Ursa Mini Pro for a recent web commercial.

TAIWAN: Mipro sponsored the Asia Beatbox Championship for the second year in a row, once again supplying its MM-59B beatbox

because it captures a lot of details in the sounds and especially the fullness of the bass,’ said Dharni, two-time Grand Beatbox Battle Champion.

JAPAN: Japanese music video producer and director Kei Ikeda has started using Blackmagic Design’s Ursa Mini Pro 4.6K camcorder to shoot popular bands, such as Hysteric Panic and Kotori. Mr Ikeda is also the founder of production the Ursa Mini Pro was for the band

Kotori, when making their music video for the song Blue,’ revealed

however, we did not have enough for something we could get in a similar image that was within the budget and we reached to the

‘I shot the commercial using a Cooke anamorphic lens with the camera,’ Mr Ikeda commented. ‘I have worked with the same client before and that time I used a different camera, which was way more expensive than the Ursa Mini Pro. Of course the client loved the commercial and said they prefer the commercial’s look captured from the Ursa Mini Pro and Cooke lens.’ www.blackmagicdesign.com

Rutledge AV updates website

AUSTRALIA: Australian A/V systems and equipment provider Rutledge AV has launched a new website. New features include full-page videos and images for a ‘visual and immersive’ user experience, a responsive design that adapts to different devices, such as computers, tablets and mobiles, and a menu design that incorporates social media posts. ‘Essentially, our strategy for the new website was

the tournament. The 2017 edition of the championship was held in Taipei and organised by TWBeatbox.com. More than 50 competitors from 18 countries competed in solo, tag-team and ‘loopstation’ battles, judged by a jury comprising representatives from the UK, France, Singapore, Switzerland and Russia. ‘Mipro’s MM59B is really amazing for beatboxing

‘As a technical beatboxer, a microphone should create very clear sounds and the low frequencies are very important too,’ added Zede, 2009 Beatbox Battle World Champion. ‘The MM-59B has this clear sound and lows. The way it handles the high frequencies is also awesome.’

www.mipro.com.tw

to deliver an immersive experience for the user,’ explained Kamila Marcinczak, marketing manager at Rutledge AV. ‘By seeing full screen photographs and videos, the user can really get a sense of what a quality audiovisual solution looks and feels like. We are moving away from the technical aspect of audiovisual and trying to engage users based on an experience.

‘The second aspect of the site was to launch our “Content Creation and Design” services,’ Ms Marcinczak revealed. ‘We have been building on our capabilities and portfolio of clients and we are now ready to hit

these services as a value add to our existing audiovisual services.’

www.rutledge.com.au

Kei Ikeda with Blackmagic’s Ursa Mini Pro 4

SMPTE 2110

Background

In the move to an IP-based broadcast infrastructure, a major hurdle still remains: that of network control and management. IP networks intrinsically lack the predictability and quality of service that is expected and demanded in a live, real-time broadcast environment. Issues with on the network as new devices are added or removed, as well as effective troubleshooting of legacy and new technology, all create a level of complexity beyond current broadcast capabilities.

To begin with, the transport format – for example S2022 or S2110 – is only a relatively small part of what you need to make an IP broadcast infrastructure work. It is, of course, essential that all the nodes in the network speak the same language, ie use the same standard, but it is a proper transport format. That it took the industry so long is because different, predominantly large, companies tried to push their own version.

Never intended for this application, the drive towards the S2022 standard was another mistake, as

Jan Eveleens

for PTP: IEEE1588. As IEEE1588 is a very broad standard, SMPTE extensions for broadcast bespoke elements such as timecode) and this ultimately culminated in the S2059 standard. Unfortunately, proper implementation of IEEE1588/S2059 is not so easy and it will be a while before most companies will have mastered a stable and solid implementation. Equally as unfortunate is that SMPTE did not talk with AES when they

this format is far from optimal for an IP infrastructure in a studio or OB van. This is because it (a) does not support UHD, (b) is wasteful in terms of bandwidth (20% to 40% depending on the video format) and access or process just the audio. The whole 1.5Gbps or 3Gbps stream needs to be received and the audio de-embedded.

adoption by many companies of S2110, the transport format side of the issue can probably now be declared as ‘resolved’.

Hurdles

However, there is a second issue, that of signal/facility timing. In an

IP environment, we still need an equivalent of the traditional sync mechanisms used in broadcast.

Basic Ethernet does not possess the notion of time, but the IT world has recognised this for years and come up with solutions for a wide variety of applications: PTP or Precise Timing Protocol. Luckily on this topic there was much less contention and the industry quite quickly converged on a very widely used general IT standard

created S2059, which means that IEEE1588) and S2059 don’t have a perfect overlap. In the meantime, this has been recognised and is being resolved. A slightly bigger issue is that another proprietary IP audio system that is already in widespread use by many broadcasters, uses a different version of IEEE1588. It uses v1, while S2059 and AES67 specify v2. So far, this is incompatible as it is impossible

to run IEEE1588 v1 and v2 in the same network at the same time. understood, hurdle in moving to an IP-based broadcast infrastructure has to do with network control and management. The main challenge here is that Ethernet/IP networks intrinsically lack the predictability and quality of service that is expected and demanded in a live, real-time broadcast environment. The biggest issue is that in Ethernet/IP networks, individual not protected from each other and is temporary congestion. IP networks look very much like Congestions happen without good reason and accidents also happen, especially when there is a lot of means packets getting dropped or lost, and is something that is unacceptable in a real-time and bandwidth management in an IP network is essential for a proper and reliable solution for broadcast applications.

Often the term SDN (Software

Axon CEO Jan Eveleens

Axon Cerebrum in action

or used in conjunction with this. The issue with this terminology and so should be considered with great care. Another element is related to the and this can also dynamically

address management. This can broadcast or the IT sectors will systems.

The future

control. The good thing about this connection management and

to carry ancillary/metadata in an management/ www.axon.tv

The proposed AMWA roadmap taking it through to 2020

EDUCATION

on the remote site and transport over IP,’ said Mr Moerman. ‘In combination with SMPTE ST20226 IP packetising/de-packetising equipment, it works as expected for this kind of remote production. However SMPTE ST2022-6 and SDI-over-IP are not here to stay. Participants realised this in the new SMPTE ST2110 IP environment. The communication between devices on the network becomes a critical element in this.’

MALAYSIA: Stagetec Asia recently partnered with DirectOut, ASL and DHD to host a pair of two-day audio-over-IP training workshops at the Stagetec Media Academy facility in Selangor. The sessions provided an in-depth look at AoIP networks and their capabilities, and included discussion of SMPTE ST2110. Each session began with an introduction delivered by Stagetec Asia managing director Advon Tan, who discussed possible AoIP applications before handing over to Stage Tec international sales consultant Jean-Paul Moerman. Mr Moerman delivered an overview

of AoIP technology and its various formats, such as AES, MADI, SDI, Dante and Ravenna. He also discussed latency issues. Attendees were given the opportunity to get hands on, testing the interoperability and versatility of each AoIP format by connecting a Stage Tec Nexus audio router with a DHD radio console, ASL Dante I/O boxes and DirectOut converter via AES67.

‘Participants could evaluate whether Stage Tec technology was fully functional in a remote production IP environment, using the existing Nexus base devices for control over IP, and to process audio

BXB leads technical exchange in Beijing

CHINA: BXB and its Chinese distributor, Beijing Litron, recently staged a technical exchange at Vision Hotel in Beijing. The meeting, titled IP 4K Cloud Audio & Video Smart Campus Solution, exploring the ICP-5000 smart campus solution, while the second provided a demonstration of the Q.con Video Conferencing Solution.

Members of Malaysia’s broadcast industry, including representatives from radio stations, TV channels, manufacturers and dealers, attended workshop was held exclusively for Media Prima Berhad.

‘The training gave us insight into the development of AoIP technology and its applications,’ said Azrin Vellasamy, senior audio director at Media Prima. ‘Jean-Paul painted an exact picture of the transformation taking place in the industry relating to AoIP and remote productions.’

www.stagetecasia.com

Beijing Litron’s general manager, Mr Cong, and BXB vice president Jerry Hung were both present as the manufacturer and distributor shared concepts of cloud hosting and IoT across smart campuses with those in attendance. To best demonstrate the ICP-5000, three projector systems were set up to play HD video and showcase the solution’s text-to-speech functionality.

During the Q.con portion of the event, Mr Hung made a call to BXB’s headquarters in Taiwan over Skype using the solution to

Amphion’s real-world recording seminar

JAPAN: Amphion Loudspeakers has staged technical seminars at Onkio Haus Studio in Tokyo on many occasions. For its most recent workshop, the Finnish manufacturer aimed to make the experience more interactive for participants, allowing them to gain a hands-on understanding of the systems used.

The seminar took the form of a live recording session, in which the 30 engineers in attendance were able to comment on and discuss the monitoring, mixing and recording of guest artists Shanti and Philip Woo. The session lasted for three hours and featured a setup comprising an Avid Pro

highlight its video conferencing capabilities. The vice president also demonstrated the speaker’s image auto-tracking functionality that automatically turns on when it recognises a voice.

The Taiwanese manufacturer reports that the event was well attended and that guests were impressed with the systems shown. Following the success of the technical exchange, BXB and Beijing Litron are planning similar future events.

www.bxb.tw

www.litron.cn

Tools HD system, a Pyramix DSD recorder and Neumann U47, M149 and NU47 microphones. The event concluded with a networking session, in which wine and cheese were served.

www.amphion.fi

www.onkio.co.jp

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A powerful new technology at the heart of DPA miniature microphones. We’ve minimized distortion and expanded dynamic range significantly. From a whisper to a scream, DPA mics have got you covered.

Advanced Dante training returns to NAMM

WORLD: Audinate will be presenting three progressive levels of training as part of its at The NAMM Show 2018, as well as an insider ‘tips and tricks’ with Dante workshop. The course covers from introductory level to Dante Level 3 Training with topics including advanced networking, mixed-use networks, best practices, troubleshooting techniques and Dante domain management.

‘I’m looking forward to the continuation of the Dante

commented Bernie Farkus, senior technical sales engineer for Audinate. ‘Based on feedback received since the last NAMM, we’ve expanded our offerings this year, and hope to see more audio professionals at this year’s event.’ Taking place on 25 January at 8:30am, a 90-minute Introductory Networked Audio Applications session is recommended for people who are brand-new to audio

networking or unsure if they should course. This is followed at 10am by a 90-minute Dante Level 1

pass an online skills test and a knowledge test.

The following day at 9:00am, Audinate will provide a full-day workshop as part of the Dante Level 3 Training. It is geared towards attendees already using Dante, and who are looking to create more advanced systems and discover best practices. Topics include advanced networking, mixed-use networks, best practices, troubleshooting techniques and Dante domain management. Anyone interested in attending one or more of the sessions must register at Audinate.com.

Training session which is designed to provide a foundation in audio and networking concepts for audio professionals who are new to the topics.

At 1:30pm, there is a three-hour Dante Level 2 Training session designed for intermediate-toadvanced Dante users. To complete

WORLD: The Lawo Online Academy has been launched by the German manufacturer to supplement its Lawo Academy training programme, reaching those who cannot attend available on the Online Academy is a free tutorial of mc² consoles.

‘In this video-based tutorial, new users can learn how to operate a

Christian Struck, senior product manager, audio production at Lawo.

consoles are very similar, this course will also help operators to work with any mc²36, mc²66 or mc²96 console.’ The mc² course contains six chapters and takes approximately three to four hours to complete. The course can be paused at any point for participants to return to at a later stage. Each chapter concludes with a test and, at the end of the training, users that pass an exam will receive a

www.lawo.com

www.audinate.com

INDIA: Sun Infonet recently partnered with Just Audio to host Wireless Mastered Digital, a oneday wireless microphone seminar, in collaboration with Shure. The training was held in Goa and conducted by Shure Technical support engineer Andrea Granata. The seminar was attended by sound engineers, A/V technicians and production professionals throughout the region. It covered recent spectrum allocation changes in addition to tools such as Shure’s Wireless Workbench software.

‘In India, our industry is developing at the speed of light, and, as a manufacturer, we are committed to support this growth,’ commented Mr Granata. ‘It’s great to see so much interest and participation for our educational

programme and we look forward to many more successful events with Sun Infonet in the region.’

www.shuremea.com

www.suninfonet.net

SEMINAR DIARY

JANUARY 22 – 23

ClearOne Hands-On Software Training

Taipei, TaiwanThis instructorled course covers the basics of audio conferencing design and a technical overview of ClearOne’s Professional Audio Conferencing products; including in-depth Converge Console software.

www.clearone.com

25 – 28 JANUARY

Adaptive Systems Introductory Training

Anaheim, California

EAW will be participating in NAMM’s Line Array Loudspeaker System Academy during The NAMM Show, offering Adaptive Systems Introductory Training throughout the show.

www.eaw.com

13 FEBRUARY

Display 2.3 – Webinar Training

Online

An overview of Martin Audio’s Display 2.3 system optimisation how it works with MLA systems.

www.martin-audio.com

14 FEBRUARY

d&basics workshop Yokohama, Japan

In this workshop, participants are familiarised with the basics of acoustics, loudspeaker characteristics and design, including an introduction to the E-Series, T-Series, Y-Series and Monitor systems along with d&b

www.dbaudio.com

26 – 28 FEBRUARY

Foundations of Crestron Programming Sydney, Australia

Taking place at Crestron’s Australian headquarters, CTI-P101 is a three-day course that teaches attendees to utilise SIMPL and VT Pro-e to make changes to and create programming for basic single room systems.

www.crestron.com

SSL on tour with Gavin Tempany

SINGAPORE: Solid State Logic (SSL) has completed a four-date tour through Asia with reputed sound engineer Gavin Tempany presenting its Live L500, L300 and L200 digital mixing consoles. After a successful start in Beijing, the tour stopped in Singapore, where it was held in collaboration with the Yong Siew Toh Conservatory of Music (YSTCM) at its recording studio in front of 40 members of the local live sound industry, who had followed the invitation to this rare opportunity.

‘We are very happy with the attendance,’ stated Malcolm Chan, general manager of SSL Asia. ‘We have seen our customers here, as well as personnel from top venues, consultants and also a number of potential new users.’

SSL’s vice president of Asian sales, Anthony Gofton, who had taken on the role of host and moderator of

the event, explained the intention behind it. ‘More than a chance to demonstrate the desks, it is a way for us to give something back to the customers,’ he stated. ‘We want them to go home with useful tips from someone who is using them well on big tours.’

Indeed, Mr Tempany has been using SSL Live desks extensively in FOH and monitor positions on international

In true masterclass style, he used recent productions as examples, such as tours with David Gilmour (Pink Floyd), Mike & The Mechanics and Hans Zimmer. From setup and

Eve Audio returns to Asia

CHINA: Kicking off its annual tour of Asia, Eve Audio hosted a seminar at Beijing’s Ritz Carlton Hotel in conjunction with its Chinese distributor, Central Music. The German studio monitor manufacturer also paid a visit to the city.

gave a technical talk, discussing acoustics as well as the Eve products.

‘The entire Eve Audio range gets a lot of attention here in China and it was a great pleasure for me to find such a highly interested audience here in Beijing,’ Mr Stenz commented. ‘We had a great Q&A section during the seminar and the audience was not only engaged in the listening session but also wanted to talk about technical parameters and acoustics.’

‘For us as Eve Audio’s face in China, we appreciate the opportunity to welcome the manufacturer, show them our market and give our customers the chance to meet them,’ said Mr Yubo, president of Central Music. ‘Some of our customers travelled for seven hours to attend the seminar and to speak to Eve Audio directly.’

The seminar was attended by 24 professionals and producers Exound.com, Tianjin Conservatory of Music and Beijing Contemporary Music Academy. Eve’s full catalogue of studio monitors was on display, with all systems available for hands-on demonstration. The manufacturer’s CEO, Roland Stenz,

Eve Audio sales and marketing director Kerstin Mischke commented on the importance of the visit. ‘We understand not all customers can come to us and that we need to go to them,’ she said. ‘We have a very close relationship with Mr Yubo and his team from Central Music. It’s a pleasure to support their hard work.’

www.eve-audio.com

programming to actual usage, and with the help of system and signal routing diagrams, Mr Tempany led the participants behind the scenes of these productions and through

Playing and mixing actual multitrack recordings of the shows, he was able to demonstrate real-world automation dynamics and effects as present in the consoles. Participants not only questions, all of which were answered in detail by Mr Tempany.

Plenty of practical advice and tips were given by Mr Tempany for optimal

utilisation of the SSL Live consoles, for example, how inserting effects into stem groups can save fader paths, or how the clever use of matrices can prevent accidental ‘leaks’ of the shout bus into the wrong path. ‘These are things I do because I’ve made mistakes before,’ Mr Tempany was not shy to admit. ‘No one showed myself, and I’m happy to share it.’

The masterclass did not only cover SSL consoles. From his many years of experience on the road, much of it with Britannia Row, Mr Tempany managed to surprise his audience – in a very entertaining way – with a number of valuable tools and tricks to make a sound engineer’s an artist’s odd wish, or overcoming challenges posed by venues or stage sets.

‘These are just ways that I found to solve problems I’ve come up against,’ Mr Tempany explained. ‘Digital consoles are making many things easier than in the past. But there are no rules in audio of how to do things. There are often three or more ways to get something done.’

www.solidstatelogic.com

Eyes on the Røde

WORLD: Røde Microphones has released a new educational series of videos, titled Røde Racing. The series is hosted by the manufacturer’s senior sales manager and product specialist Ryan Burke and details a range of car miking and setup techniques. All episodes are available to watch at www.roderacing.com.

Røde Racing was inspired by Røde founder and owner Peter Nissan Nismo GTR in Australia. A production team was deployed to a private racetrack by the manufacturer to put both the car and some Røde microphones through their paces.

Episode 1, Røde Racing Pro Setup, provides an overview of car miking techniques with a range of the manufacturer’s microphones. Meanwhile,

Episode 2, Røde Racing iPhone Setup, shows how to create a

fully portable recording rig for capturing car audio using three iPhones and three SmartLav+s. Episode 3, titled Three Things You Should Know, covers the considerations to make when recording performance racing, such as the required microphones, how to tailor the setup and safety hazards. A bonus fourth episode, Hot Lap!, offers a view from the Nismo GTR as it completes a lap around the track.

Røde Racing is a continuation of Røde’s dedication to educational content,’ said Damien Wilson, CEO of Røde Microphones. ‘We are excited to bring this to our audience and show the true versatility and high performance of Røde

www.rode.com

www.roderacing.com

A 10" driver with extraordinary mid-band clarity

Right from the start, it was clear that the CF1025C was going to be something special. Using laser interferometry early in the development phase, Celestion’s engineers built an accurate picture of the cone’s movement across the frequency spectrum, providing the essential data needed to achieve extraordinary mid-band clarity.

CF1025C

From a range of small-diameter, high performance Celestion professional drivers

MANUFACTURERS

Contact Celestion to request a sample

GuruNavi creates a clearer Vue in South Korea

It turned out that they admired our speaker systems so much that they wanted to take on responsibility themselves. With their experience, enthusiasm and commitment, I am

PT Berkat Mitra Swara takes in dBTechnologies

INDONESIA: dBTechnologies has appointed PT Berkat Mitra Swara

KOREA: Having parted ways with Chungbo Sound, Vue Audiotechnik has entered into a new distribution agreement for South Korea with GuruNavi Solution Co Ltd. Based in Seoul’s Seodaemun-gu district, the newly incepted network A/V integration company boasts the combined talents of CEO Carl Park, sales director Kevin Kim and international sales director Jesse Park. The trio boasts many years of experience in the Korean audio industry, for whom CEO Carl Park enjoyed a long spell as the brand manager at Sama Prosound Co Ltd for Allen & Heath, PreSonus, QSC Audio, Shure and others. Mr Kim served for many years as a technical

advisor at Sama Prosound before taking on his most recent role as sales consultant at Soundus, whilst Jesse Park was employed by both Sama Prosound and Soundus over the past six years.

‘Personally, I’m ecstatic that we have taken on this young, dynamic team with lots of industry experience,’ commented Vue Audiotechnik CEO and co-founder Ken Berger. ‘To better understand our brand and its technologies, the

Diego headquarters before listening to one of our demonstrations in China. Having explained my vision for the brand, I asked for their help and advice in promoting the brand.

dawn for Vue in South Korea. Overall, we’ve experienced phenomenal growth recently, leveraging the success of the hard work we’ve put Vue a rider friendly loudspeaker.’ The GuruNavi trio travelled to the InterBEE show in Tokyo recently to meet with Mr Berger and his colleague Alex Schloesser. ‘When we heard the al-12 system at the Jinshan demonstration, we were astounded by the clarity of its highs and well balanced lower frequencies,’ commented Jesse Park. ‘We were also greatly impressed by Ken’s knowledge, enthusiasm a new company, but their humble, passionate engineers have achieved a great deal in a relatively short period of time. Naturally, we are honoured to have been asked to play a role in the next chapter of their exciting journey.’

www.gurunavi.co.kr

www.vueaudio.com

Taking effect from 1 January 2018, the newly created distribution company based in Jakarta is solely focusing on dBTechnologies and will host a brand introduction and

is refocusing its sales efforts by expanding its business potential in the region. ‘I am convinced that the experienced PT Berkat Mitra Swara’s team will perfectly match our expectations in growing our brand in Indonesia’s professional market segments,’ commented

demonstration on 21 February capital. ‘We are more than thrilled to partner with dBTechnologies and represent the company’s high performance products for our market,’ commented PT Berkat Mitra Swara product specialist Brian Iksan. With shipments of the Vio line array system well underway, together with the release of the Aurora.net software, the Italian manufacturer

Itochu begins Japanese Cinegy distribution

JAPAN: Cinegy has established a new Japanese distribution agreement with Itochu Cable Systems Corporation, a Tokyo-based company that provides systems integration services for data, video and telecommunications. Itochu has started raising awareness of the digital video processing, asset management, video compression and automation and playout

software developers systems during the InterBee 2017 show, in addition to staging various events.

‘Itochu’s primary focus with Cinegy at present is in our production and postproduction solutions,’ explained Cinegy MD Daniella Weigner. ‘They have many major customers in Japan – including very large animation studios – who need to digitise, store and repurpose

ASIA: Singapore-based CDA Pro. AV has taken on distribution of Aaton Digital’s CantarX3 multitrack location sound recorder in Australia, New Zealand, Singapore and Thailand. The distributor, previously known as CDA Pro Audio, also represents brands including CEDA Audio, Prism Sound, MicW and ATC, among others.

to the product range offered by Aaton and Transvideo, we were

immediately impressed by the build quality and full-feature layout, peerless in both design and performance,’ explained CDA Pro AV business development manager, Peter Orehov. ‘We are delighted to be in partnership with a company of such a renowned pedigree and look forward to promoting and supporting this unique brand.’

www.cda-proav.com

AUSTRALIA: The Madison Technologies distribution portfolio has grown with the addition of HDi’s PCAP 360 touchscreens and wireless connection kits.

Australia, Madison is well versed in representing a vast array of technology manufacturers. HDi, meanwhile, is based in Melbourne and provides collaboration and presentation solutions.

‘We believe that business tools for collaboration need to be

powerful, but simple and intuitive in operation, to suit both frequent

dBTechnologies’ APAC sales manager, Manuele Poli. ‘We are already planning a demo event where professional customers could listen to and learn more about our prominent products. That’s why I am sure that this new partnership will boost the brand’s visibility in the local market, and satisfying results won’t be long in coming.’

www.dbtechnologies.com

content. Cinegy Capture PRO provides VTR control, batch ingest, proxying, multiple SDI board support plus the ability to effortlessly handle all major formats.’

This primary focus has already paid off, as Toei Animation has purchased a license for Cinegy Capture PRO from Itochu. ‘We have been very impressed with Cinegy’s capabilities and have championed their solutions, so we are delighted to formalise our sales and support partnership,’ said Itochu GM, Hoei division, Hidetaka Osuga.

www.cinegy.com

and occasional non-technical users,’ explained Ken Kyle, general manager of broadcast and A/V at Madison Technologies. ‘We’ve found a local partner in HDi that agree with us and have produced such tools with the PCAP 360 and HDi Connect product ranges. We’re very pleased to be representing and distributing these solutions to the market.’

www.hdinteractive.com.au

www.madisontech.com.au

Manuele Poli Cinegy Capture

Danmon Asia becomes an AJA platinum partner

VIETNAM: As part of its strategy to further penetrate the Vietnamese broadcast sector, AJA Video Systems has appointed Danmon Asia as a distribution partner. Blonde Robot continues to serve as the manufacturer’s master distributor for South East Asia. ‘We are really pleased to be partnering with Danmon in Vietnam,’ said, Eamon Drew, director of Blonde Robot. ‘They are a great strategic partner for us and we look forward to working closely with them in the future.’

Danmon Asia’s managing director, Bjarne Pedersen, explained how his company. ‘This cooperation

us to serve more customers in the broadcasting and corporate business sectors,’ he said.

‘Danmon Asia is a well-established

Digigram targets Filipino radio broadcasters

PHILIPPINES: Broadcast World Philippines System Inc (BWPSI) has been awarded the distribution rights to Digigram’s sound cards in the Philippines. The sound cards are designed for radio broadcast applications, while BWPSI has reportedly sold, installed and maintained the majority of all broadcasting equipment currently in use in the Philippines.

distributor of high-end video and audio products and systems. Being authorised by AJA as a platinum partner, we will be able to approach a wider range of customers with good-quality products at very reasonable price levels. AJA will

portfolio, so we can cater for different customer segments.’ www.aja.com www.danmon.com

PSA joins ISL portfolio

AUSTRALIA: ISL Systems has been appointed by Point Source Audio (PSA to distribute its Series8 and Embrace microphones, as well as its CM-i in-ear headset series across Australia, New Zealand and South East Asia. The distributor is based in Queensland, Australia and led by director Wayne Grosser, who has built his company’s reputation throughout the regions with its representation of brands such as Clearsonic and Bagend. Mr Grosser is also known as the managing director of Clair Brothers Australia.

‘Wayne has strong roots in the pro audio business in this region where he has been representing Clair Brothers in Australia for more than a decade,’ said James Lamb, president of PSA. ‘We knew immediately ISL Systems would be a

Mr Grosser described Point Source Audio’s microphones as offering the precision that his customers demand. ‘PSA mics deliver such clarity, warmth and natural reproduction of sound at high SPL with extended frequency response,’ he said. ‘PSA’s attention to detail ensures sonic quality, reliability and durability towards a great microphone solution. I’m proud to provide my customers with their products, and working with them will help ISL expand its presence in our expanding markets.’

www.islsystems.com

www.point-sourceaudio.com

closely with the company.’

Digigram has also appointed broadcast systems integrator 90 Degrees North (90° North) as its Filipino distributor for AoIP products, including the IQOYA range and PYKO encoders and decoders. 90° North will also target the country’s radio broadcasters. ‘The 90° North team is very knowledgeable with respect to the Filipino market and the radio

‘BWPSI is an experienced and renowned distributor of broadcast solutions in the Philippines market,’ said Marie-Julie Orsoni, sales Digigram. ‘The company has known our products for years and we are valuable local partner in helping us to build awareness and boost adoption of Digigram sound cards.’

‘We have been supporting Digigram sound cards in the Philippines for Eudes Kelly, president and CEO at BWPSI. ‘Broadcast World Philippines of Digigram and to be working more

broadcasters operating within it,’ noted Ms Orsoni. ‘The company’s experience, backed by ongoing support and product education from Digigram, will enable its expert staff to recommend the optimal Digigram AoIP solution for each customer’s requirements.’

‘The Philippines broadcast market is now transitioning to IP, and Digigram AoIP products offer the reliability

the move to IP, while maintaining excellent audio quality,’ commented John Achilles Denna, president at 90° North.

www.digigram.com

Marie-Julie Orsoni with Manuela Eudes Kelly, president and CEO at BWPSI

John Li gets Loud in China

CHINA: John Li has been hired to serve as general manager of Loud Audio’s China operations and its VP global operations. Prior to joining Loud Audio (formerly Loud Technologies), Mr Li gained comprehensive operations experience including managing development, planning and quality management in roles with Harman Professional and Bosch Automotive Products. He is based in Shenzhen and holds two Bachelor degrees as well as a Master’s.

‘With Southern China’s general strength in electronics

professional audio manufacturing, it is strategically important for Loud to place our operations leadership closer to the centre of these activities,’ explained the

Ross takes Stuart Russell global

company’s CEO, Mark Graham. ‘John’s appointment, coupled in Shenzhen, will enable Loud to leverage the electronics ecosystem and supply base in Southern China. The leadership team is pleased to have someone of John’s calibre join us and lead our manufacturing operations into the next phase.’

Mr Li stated that he was impressed with Loud’s strategic view of the future and desire for growth. ‘For myself, this is the perfect time to join a great company with its distinguished brands,’ he said. ‘I look forward to investing all my efforts to driving improvements in and developing my team to achieve our goals.’

www.loudaudio.com

John Li

Global business development role awaits Rusty

Mr Waite’s most recent role was at EAW, where he served as VP of global sales. In his new position, he will support sales initiatives across all channels and lead business development globally.

‘My role at EAW is what made my transition to K-array a natural one and my experiences as a sound designer, freelance audio broadcast A2 and

WORLD: Industry sales and marketing veteran Russell ‘Rusty’ Waite has joined K-array as its new global business development director. His 25 years of experience include working to obtain commercial growth and providing technical services across the broadcast, production, theatrical and corporate A/V markets at the likes of Euphonix and Stage Tec.

to understand the challenges that our customers face,’ Mr Waite stated. ‘I look forward to contributing to the future growth of K-array and taking it to a level that it really deserves. There is a great team based in Italy and very strong established partners around the world.’

www.k-array.com

WORLD: Stuart Russell has moved into the role of senior communications manager at Ross Video. He joined the company in 2013 as marketing manager for the EMEA region.

‘I’m delighted to be turning the page to a new chapter of my career,’ said Mr Russell. ‘Ross has developed beyond recognition in the company has invested heavily in new staff and infrastructure to help propel us on to our next stage of growth.

‘We have great people, compelling solutions, a wonderfully rich heritage and an absolute commitment to customer service; I’m looking forward to sharing these stories with more customers and the world.’

Mr Russell’s success across EMEA was the key factor in securing this new role. ‘Stuart has been pivotal to the growth of our brand and business in EMEA; we’re now much better positioned in the market with strong industry rapport and credibility,’ explained Jenn Markey, VP of marketing. ‘I am delighted that Stuart will be sharing his expertise and experience to grow Ross’ global awareness and footprint.’

www.rossvideo.com

Tony Szabo to head L-Acoustics’ touring applications team

WORLD: Industry expert Tony Szabo has joined the L-Acoustics ranks as head of the touring applications team. Gaining the touring, he will report to director of applications Florent Bernard and will be tasked with developing strategies for the touring applications team, as well as ensuring the continued success and strength of the L-Acoustics global network of partners. With a career spanning 25 years, Mr Szabo has previously worked with some of the world’s biggest artists and festivals, serving a variety of roles from monitor technician to FOH engineer, show controller, crew chief and senior FOH systems engineer.

‘Tony’s extensive experience brings a unique and fresh perspective to lead our market development strategy,’ commented Mr Bernard. ‘His combination of technical expertise, industry knowledge and business acumen will be a great asset for L-Acoustics.’ ‘I’ve worked extensively with all of the top pro audio technologies and I’m proud to join what I consider to be the leading pro audio brand,’ added Mr Szabo. ‘It’s exciting to represent L-Acoustics in the touring market, ensuring the continued strength of the brand through the excellence of our internal team and our global network of partners.’ www.l-acoustics.com

CONNECTIVITY

64x64 premium audio interface for Pro Tools | HD™ and Thunderbolt™ workflows, featuring 16x16 analogue I/O and 32x32 Dante™ audio-over-IP connectivity

pro.focusrite.com/red-16line-paa

L-Acoustics’ Tony Szabo

Vitec promotes Mark D’Addio

WORLD: Vitec has promoted Mark D’Addio to the role of senior vice president of sales and marketing. Mr D’Addio has been with the video encoding and streaming solutions manufacturer for seven years, most recently serving as vice president

DPA’s new EVP

of business development and emerging markets.

‘Mark is a seasoned expert who is well-known and respected in the streaming industry for pinpointing the solutions that meet unique market needs,’ said Philippe Wetzel, president and CEO at Vitec. ‘This promotion strengthens our commitment to the growing market and providing high-quality, reliable and affordable broadcast-grade video solutions.’

www.vitec.com

Stephen Tsui to manage Exterity’s Asia operations

ASIA: Stephen Tsui has been named as regional manager, Asia at Exterity. Based in Hong Kong, he will report to the IP video and digital signage technology manufacturer’s regional director, take responsibility for managing sales and business development in the region.

WORLD: Having worked for DPA Microphones as a consultant and marketing systems, Nikolaj the manufacturer’s EVP of sales. He will be based at the company’s headquarters in Denmark, overseeing global sales activity and helping to develop new strategies for its product portfolio within the pro audio, live sound, theatre, broadcast, house of worship and installation markets.

‘Nikolaj already has a good knowledge of DPA’s core business

and we believe he has the right leadership skills to develop and motivate our fantastic sales team,’ said Kalle Hvidt Nielsen, CEO of DPA Microphones. ‘We are sure that Nikolaj will be an asset to DPA as

we continue to grow our business extensive experience in marketing, web sales and the technology industry. His most recent role prior to joining DPA was as global head of sales for special cargo at Maersk. company with long history of success and take it to the next level,’ Mr to engaging with our customers and partners, so that we can take DPA

www.dpamicrophones.com

Mr Tsui has 11 years of experience in a regional sales roles at the likes of Contentwise, disguise, Minerva Networks, Viaccess-Orca and Verizon Business. He possesses a bachelor’s degree in computer science and speaks Cantonese, www.exterity.com

Nikolaj Forsberg

Stephen Tsui, Regional Manager, Asia at Exterity

Mark D’Addio

Lighting sales veteran moves to Chauvet

ASIA: Hanslee Lim has joined Chauvet to spearhead its efforts in Asia as sales director for the region, covering all of the company’s brands, including Chauvet Professional and DJ, Iluminarc architectural lighting and Trusst trussing. He joins from Robe Lighting, where he most recently served in the same capacity, and has previously managed export sales across Asia for SGM.

‘Hanslee has an extraordinary depth of knowledge about lighting

about lighting in the Asian market,’ said Stéphane Gressier, international sales director at

shoes at Allen & Heath

WORLD: Rob Clark has been named managing director at Allen & Heath following the decision from longstanding company into a new role within the Audiotonix group. Mr Clark joined the British manufacturer in 1993 as a digital R&D engineer and became R&D director in 2008.

‘It’s an honour to take on this new challenge,’ Mr Clark stated. ‘Glenn has been a trusted friend and mentor for more than 20 years and I know we can rely on his wise counsel in the future. It’s a fantastic time to move into this role; the product range has never been stronger, we’re blessed with an amazingly talented team and we have the collective expertise of the Audiotonix group to draw upon.

Together we will continue to grow the business with the passion and innovation that Glenn has always

Mr Rogers will continue as a director of parent company, Audiotonix group, working to identify opportunities in the market and playing a part in specifying new products. ‘I am excited to take up new challenges for the Audiotonix group and look forward to exploring the new ideas and technologies that will shape the next generation of mixers,’ he said. ‘Rob has a wealth of experience and the best team in the business behind him, so I know that Allen & Heath will continue to go from strength to strength under his leadership.’

www.allen-heath.com

Chauvet. ‘Most importantly, he has a well-deserved reputation for understanding the needs of customers and putting them have someone with Hanslee’s impressive track record and commitment to excellence on our team.’

In other news, Chauvet has appointed John Castelino as vice president of global marketing, a role that covers the entire brand portfolio, including Chauvet Professional, Chauvet DJ, Iluminarc, Trusst and ChamSys.

www.chauvetlighting.com

Clear-Com selects global support director

WORLD: Gavin MacDonald will lead Clear-Com’s global service and support teams in his new role as director of global service and support (GSS). He moves across from Clear-Com subsidiary Trilogy Communications, which he joined in 2008 as purchasing manager and most recently served as operations director.

Mr MacDonald will also be responsible for developing a new customer service strategy. He is based in the UK and will report to Clear-Com president, Bob Boster.

‘Taking care of our customers has been and will always be one of the hallmarks of this company,’ said Mr

David Cohen rises through the ranks at Grass Valley

the communications industry and his experience in manufacturing, quality control and customer service, his leadership will be invaluable as we continue to reinforce our brand promise with world-class support services.’

www.clearcom.com

Global comms manager appointed at Analog Way

WORLD:

Valérie Gérôme as its new global communications manager.

Ms Gérôme joins the French manufacturer from Ericsson, where she worked for more than 20 years across its corporate, internal and customer communication teams. In her new role, Ms Gérôme is tasked with raising awareness of the company’s new business strategy,

as well as products and services, via global communications activities.

Ms Gérôme will report to marketing and communications

very pleased to welcome Valérie brings a really strong and unique expertise that will be extremely valuable in strengthening our brand as well as promoting the

WORLD: David Cohen is now vice president of marketing at Grass Valley. He has worked at the company for almost six marketing communications and more recently as senior director of market development.

In his new role, Mr Cohen takes on further responsibility for marketing communications and product marketing at Grass Valley. He will develop go-to-market strategies while promoting the brand utilising a combined 14 years of media technology industry experience.

www.grassvalley.com

development of new activities and products that will be offered in the years to come.’

www.analogway.com

Axiom hires multilingual international sales manager

WORLD: Proel has awarded Elio Caia the role of international sales manager for the Axiom professional loudspeaker brand. He takes responsibility for the export of Axiom products across the EMEA, APAC and North American markets.

experience and skills to address the different facets of today’s worldwide

pro audio market,’ said Axiom business unit manager, Daniele Massaccesi. ‘I feel that a proper interpretation of different market needs requires a good cultural and linguistic background combined with a suitable technical and commercial knowledge, and these are talents that we have found in abundance with Elio.’

Mr Caia’s linguistic fluency spans Spanish, French, English and Chinese. He also possesses strong experience in managing distributors, developing markets and providing specialised technical support for various export markets.

‘I have a deep respect for the people and technologies behind

Axiom’s growing popularity, driven, I believe, by excellent engineering and quality of performance,’ said the new international sales manager. ‘I welcome the challenge of bringing these values to the export markets that I know well.’

www.axiomaudio.com

Rob Clark outside Allen & Heath HQ

Hanslee Lim

David Cohen

Valérie Gérôme

It’s all in the DNA

THE LAST big release from MC2 audio saw processing from its sister company XTA added to form the Delta Series, and the latest release from XTA is somewhat of a role reversal – matching an XTA DP448 processor with a 4-channel control. Alongside the DPA Series, the DNA Series has joined the manufacturer’s portfolio and blends power with extensive networking options.

a 4-in, 8-out XTA DSP processor with channels of Dante inputs and outputs. feed the amp’s speaker outputs, while the second four channels feed dedicated line-level XLR outputs that accompany four typical speaker outputs on the rear panel for connection with other

as a central controller for a stereo 4-way system formed from non-DSP amps.

Those same outputs can also be routed onto the Dante network and the DPA using XTA’s Audiocore iPad app. Power

Aside from the iPad app, every aspect of and monitored via the front panel USB, rear panel RS485 bus, direct Ethernet or the 2-in, 2-out GPIO port. The mains connections are PowerCon.

In contrast, the DNA Series drops the XTA processing capabilities resulting in capabilities.

Rear panel switching allows the of analogue audio or four channels of networked audio, via Dante, which is

then converted using 24-bit 96kHz ADCs.

DNA80 to 2,200W, 2,000W and 1,000W, 5,400W (4,000W bridged) and 7,000W at

The front panel houses a power switch, four level controls and a variety of LED indicators. On the rear of the amps there are four Neutrik SpeakOn output connectors, four XLR female connectors, two Ethernet RJ45 ports, three channel link switches, two bridge mode switches and an analogue/network source selection connected to a DPA amp via a Cat-5 cable to create a stereo 4-way system with no external processing required.

www.xta.co.uk

Two new amp series, one smart and one dumb, have joined the XTA portfolio

XTA’s DPA100

The

A touching addition to NXAMP

NEXO IS aiming to provide easier navigation and access to all essential parameters controlling the new generation of NXAMP

LCD colour touchscreen on the front panel. The touchscreen will give users access to array EQ, mute and meters, EQ detail, user EQ, inputs, load monitoring, log, scene, setup and system headroom, as well as volume, gain and delays.

Developed in conjunction with parent company, Yamaha, the are the NXAMP4x1 MK2 and devices offer 4x 1,000W and 4x 2,000W and weigh 16kg and 16.6kg, respectively. They both

power supply (100V to 240V) using PFC (Power Factor Correction) technology. A native dual Ethernet port offers integration with the manufacturer’s NeMo system management software.

HK goes lightweight

standard, with optional Dante, network cards also available. Four analogue inputs use cascaded converters for low output noise, and four digital inputs are

available through the rear panel expansion card slot offering Dante or AES67 inputs, all with addition to the expansion card slot, other rear panel connectivity ports along with SpeakOn outputs for each of the four channels.

The NXAMP4x2 MK2 is a new design in the NXAMP range and is aimed at the French compact line array systems, as well as PS Series cabinets. Meanwhile, the NXAMP4x1 MK2 replaces the NXAMP4x1 model, which Nexo will continue to support as a legacy product.

www.nexo-sa.com

Trapezoidal solution from ZSound

ZSOUND HAS unveiled the array system that combines two neodymium MF driver and two 65mm voice coil neodymium compression drivers and frequency range. The system is being targeted for use in touring, stadium and theatre applications.

HK AUDIO is highlighting the low weight of its new generation of Lucas Nano stereo PA systems, describing the family as ‘the only genuine active stereo PA series that can be carried

two power classes, the 16.3kg 600 series and the 10.3kg 300 series. The new generation of Lucas Nano sees the 605 FX and 305 FX replace the 600 and 300 systems, while the 302 is an entirely new addition. These three systems join the existing 608i and 602 models to complete the range.

Starting with the 600 series, the

various systems all comprise stored within the 35cm x 49cm x 47cm subwoofer when not in use. These each offer a maximum SPL of 130dB, 1,500W of peak power

member of this series, the 605 FX

an onboard digital mixer or an iPad app, which also features additional EQ and compressor functions.

satellites that can be stored in a 30cm x 39cm x 42cm sub when not in use. They offer a maximum SPL of 120dB, 750W of peak power and a frequency

reverb and Bluetooth audio streaming, while the simpler 302 offers a single stereo input.

Celestion speakers and the manufacturer states that they can be used in 2.1 systems or mono setups.

Staying with Lucas, but changing categories, the manufacturer is targeting mobile DJs with its Lucas 2K active 2.1 stereo PA. The 2K series comprises two options:

sub. Both systems are completed with a pair of horn satellites.

Each member of the series features a 2,000W power

Dynaudio Pro throws a long ball

for both systems have a peak SPL of 127dB and a frequency range of sub offers a peak SPL of 129dB has a peak SPL of 128dB and a www.hkaudio.com

Low frequencies are handled ferrite woofers with rubber edges, which each offering 900W power handling and connected in series.

mounted behind the HF driver to with a phase plug mounted on the surface of the MF driver that reportedly improves directivity and sensitivity. The HF compression drivers are coupled to a 90° exponential constant that the manufacturer claims produces a coherent wavefront.

the speaker measures 375mm x 1,030mm x 550mm, weighs 58kg and can be adjusted from 0° to 7.5° at 1° increments. to hang 16 enclosures. Two recessed handles are mounted on both sides of the enclosure for lifting and carrying. The rear panel connector plate carries two WP7 waterproof connectors for loop in and loop out connections.

www.prozs.com

The touchscreen is at the heart of the new NXAMP

HK’s Lucas 2K15

Trumpeting the Bluehorn

MEYER SOUND is describing its amplitude and phase response from 25Hz to 20kHz. According to the that this has been achieved in a large-format loudspeaker. Bluehorn has been designed for high-resolution monitoring applications in mid-sized rooms for music recording, cinema postproduction and music mastering. Externally, it shares the same cabinet footprint, driver dimensions and waveguide Acheron Designer loudspeaker.

PX reaches the mid-highs

applications. It is also designed for use as a installations in venues such as performance spaces, auditoria and houses of worship.

powerful medium/long-throw

On the inside, Bluehorn calls on an upgraded HF driver and new

Meyer Sound states that the unique aspect of Bluehorn is the dedicated processor that sits in front of both the mid-high loudspeaker and the companion low-frequency correction algorithms hosted by the processor were developed by analysing all physical and electrical non-linearities throughout the entire system, from 25Hz to 20kHz, in order to bring acoustic output – at any level – into absolute phase and

frequency alignment with the input signal. Essentially, the processing of drivers and enclosures, resulting in what Meyer Sound describes as ‘a phase-coherent response previously achieved only by open-air electrostatic headphones with their Complete Bluehorn Systems are available in either stereo or LCR, with each channel comprising a 2-way, mid-high loudspeaker, a separate low-frequency element and dedicated digital processing.

www.meyersound.com

NEXT-PROAUDIO HAS introduced a mid-high speaker to its PX range. The PXH95 is designed to join its PX counterparts as a portable loudspeaker solution, while also

PXH95 offers a frequency response between 150Hz and 19kHz and a precise coverage pattern of 90°H x 50°V over a 400Hz to 17kHz frequency range. The square enclosure can also be rotated for a 50°H x 90°V coverage pattern. Laterally stacking wider horizontal coverage. Optional hanging the system.

A 1.4-inch neodymium driver with a 3-inch voice coil and a constant-Q horn achieve the HF range from 1.15kHz and above, while the mid-range (150Hz to 1.25kHz) is delivered by a low-power compression 12-inch driver loaded by a mid-range horn. While the PXH95 must be rotated an optional Tilt Unit facilitates the angling of the cabinet at 5° increments up to a maximum of 15°. This allows the top cabinet of a ground stack to be aimed at the audience. The box is also equipped with M8 threaded suspension points that make it compatible with a wide range of installation methods.

www.next-proaudio.com

Compact installation logic

LOGIC SYSTEMS has aimed its new Ci Series (Compact installation) primarily for use in bars and clubs, leisure facilities, houses of worship and theatrical venues. The British manufacturer states that the series is ‘the result of extensive consultation with installation contractors and consultants, aimed at ease of installation and, also, bringing a quality of sound and build quality not normally available at this price

The Ci Series is formed of eight cabinets: the Ci 7, Ci 8, Ci 10, Ci 12 and Ci 15 loudspeakers, and the Ci 112, Ci 115 and Ci 118 sub/bass enclosures. Each of the loudspeakers is designed with an angled back and dedicated yoke brackets that facilitate installation close to walls and ceilings. The

Alcons expands horizontal dispersion for vertical arrays

ALCONS AUDIO’S QR24/110 modular 2-way column loudspeaker is designed for use as a scalable vertical array applications. Combining 1:1 linear and dynamic sound reproduction, it is reportedly able to achieve the intelligibility and throw required for ‘the most acoustically challenging

yoke mounting points are able to accommodate for both landscape and portrait alignments and also assist the installer.

All cabinets across the entire range are constructed from birch ply and are ‘rebated, glued and options are available, as well as custom selections based on RAL or BS numbers or Dulux codes. As for the Ci 112, Ci 115 and Ci 118 bass units, these can be installed either vertically or horizontally. To further assist with installations,

presets for the Ci Series can be digital system controllers that will reportedly ‘sonically enhance all Compact install series products,

can also be used to time align different zones within a venue, or set different drive levels and limiting levels, while an OEM function also allows parameters to be locked off. PodWare software

www.logicsystems.co.uk

The QR24/110 offers 110° horizontal dispersion of its RBN1203 high-frequency drivers up to 20kHz. This, the manufacturer states, ‘widens the for the off-axis positioned built 12-inch RBN pro-ribbon transducers for the mid-high frequencies, its 90% active frontal radiation is described as producing ‘a sharply controlled SPL-independent intelligibility-overdistance without the need for DSPbased beam-shaping. Meanwhile, response and the fast transient response of the RBN transducers, combined with this controlled dispersion, deliver maximum gainbefore-feedback directly in front of and under the cabinet.

The RBN1203 pro-ribbon drivers have a peak power handling of 2,000W (200 msec) that Alcons system MHF headroom of 4,000W handled by four high-excursion, vented 6.5-inch transducers that are co-axially mounted behind the pro-ribbon drivers and deliver a frequency response of 74Hz to 20,000Hz (–3dB).

A pair of QR24 speakers can be mounted on a single tripod stand, forming a 132cm array. When be connected with the integrated reaches more than 7m in height. combination of up to three units

In addition, a version of the QR24 with 80° horizontal dispersion, the QR24/80, is also available.

www.alconsaudio.com

Bluehorn installed at Bear’s Lab at Meyer Sound in Berkeley, CA

Ci Series

A pair of stacked QR24/110s

info@dbtechnologies-aeb.com

TRI-AMP DIGITAL ACTIVE STEREO SYSTEMDIGIPRO® G4 AMPLIFIER WITH PFC - 132 dB SPL 2400W PEAK 1200W

DOUBLE COLUMN MODE

MONO MODE

STEREO

NEW CONTROL PANEL DESIGN ES1203 ALSO INCLUDES

• OLED DSP Interface

• On-board 5 channel mixer

• Bluetooth® built-in audio receiver

• Digital steering presets

• 3 input channel modes (mic/instr/line)

dBTechnologies

• Waterproof cover for the sub

• Bag for the two tops

• D35mm pole

• 2.5m Speakon cable for mono use

• 2x7m Speakon cable for stereo use

www.dbtechnologies.com

RCF’S MR monitoring speaker is designed for voice evacuation and BGM applications. Available in black or white (MR 52EN B and MR 52EN W, respectively), the cabinet is reportedly easy to install with an

Meet MR 52EN

adjustable mounting bracket, ceramic terminal connections and the ability to adjust wattage taps and voltage via a pair of rotary switches. The enclosure is made from scratch-resistant and a protective steel grille and connection cover.

With a frequency response between 80Hz and 20kHz, MR

104dB up to 1m at 30W or 92dB up to 4m at 30W, while system sensitivity is 89dB up to 1m at 1W and 77dB up to 4m at 1W. Both its horizontal and vertical coverage is 180° at 1kHz and 80° at 4kHz.

15W, 7.5W and 3.75W, and the speaker has an impedance of

190mm deep and it weighs 2.5kg. Beneath the hood is a 1-inch tweeter and a 5-inch woofer. Also new, and offering intelligible

speakers. Designed for recess installation in false ceilings or panels, they are constructed with making it resistant to the high

It also includes ceramic ports for and output cables, and a thermal

Amate provides a scalable solution

AMATE AUDIO has added to its Nítid series with the N26, N36 and N46 systems that together make up a complete high-performance column series. According to the manufacturer, the systems offer ‘sonically cohesive, scalable sound portable applications’. The systems contain a 6-inch full-range custom driver in varying rubber suspension and neodymium magnets. The N26 comprises a 1-inch titanium diaphragm neodymium tweeter, while in the N36 and N46, the compression driver is combined with a rotatable asymmetrical horn. The N26, N36 and N46 house two, three and

four of the bespoke 6-inch drivers respectively, meaning that all three speakers have an input sensitivity

input level of 20dBu. The speakers plywood with a resistant black polyurea coating.

integrated into the speakers with third-generation Class-D

are operated via Amate Audio’s described as highly responsive, weatherproof and durable. The interface allows users to set up

independent limiters for low- and

fuse protects the line during 50EN measures 181mm across and has a height of 136mm, while

with a height of 145mm. 50EN ceiling speaker, which mirrors instead of steel.

Finally, the Italian manufacturer has updated RDNet with new features including the ability to array clusters. Air Compensation precise for better control, as are www.rcf.it

high-frequency channels, delay and

(124dB peak) and operates in the 58Hz to 20KHz frequency response. It weighs 10kg and measures

(126dB peak) and operates in the 53Hz to 19KHz frequency response. It weighs 17kg and measures

(128dB peak) and operates in the 50Hz to 19KHz frequency response. It weighs 19kg and measures

www.amateaudio.com

N26

N36

MR 52EN W

PL 50EN

Expanded monitoring for ME series

ALLEN & HEATH has added the 16-channel ME-500 personal mixer to its ME system. ME-500 is a personal monitoring solution for houses of worship, rental companies and orchestras, allowing musicians to ‘quickly and independently build and control their own monitor mixes from 16 stereo or mono sources’.

With updated setup and controls compared to its older sibling, the 40-channel ME-1, the ME-500 features a dimmable display, 16 backlit select keys, mute and solo buttons, master level with limiter and EQ, and a single rotary encoder for main navigation and control. Each unit can store and recall eight user presets, while outputs include minijack, ¼-inch headphones and a TRS mono out for wedge monitors. EtherCon connectors allow ME-500s to be daisy-chained, or deployed in a star topology using the ME-U or an off-the-shelf PoE switch.

The manufacturer has also unveiled its new 96kHz SQ series of digital mixers for live sound, A/V and installation. The SQ-5 and SQ-6 mixers are founded on Allen & Heath’s XCVI 96kHz FPGA engine and are said to deliver highresolution audio with a latency of <0.7ms. SQ-5 has 16 onboard preamps and 17 faders and is 19-inch rack mountable, while the SQ-6 provides 24 preamps and 25 faders. Both consoles can be

processing models. The surface can handle up to 64 microphones, with the facility to assign mics to four running multiple conference rooms or panel discussions. The system offers two distinct AMM modes: classic gain sharing and a Number of Open Mics (NOM) algorithm. Multi-Surface capability with gain tracking allows up to four independent dLive Surfaces to control a single MixRack. V1.6 also supports the dLive hardware for installed sound, including the

DM0 MixRack, GPIO interface, IP1 wallplate controller, and DX expanders, hubs and modules for

access to dLive systems for remote control and diagnostics. The company’s DEEP suite of embedded plug-ins also has a new member. Tube Stage preamp offers different valve topologies on one dial and a new ‘Mighty’ compressor emulation. www.allen-heath.com

expanded up to 48 inputs via a family of remote expanders and feature an audio networking slot for optional Dante, Waves and other card formats, expanding the scope for system integration, FOH/monitor splits and multitrack recording.

Lastly, the manufacturer has also

Fistral, for its dLive mixing system. The upgrade provides Automatic Mic Mixer (AMM) features, Multi-Surface capability, support for a range of new installation hardware and new DEEP

SQ-5

ME-500 eMOTUS eVERYWHERE Wireless audio · Indoor/Outdoor · Powered/Passive

Vi Series gains a compact instalment

THE LATEST addition to Soundcraft’s Vi Series of digital mixing consoles, the Vi1000, is designed for live touring, music venues and corporate A/V settings, and is the most compact member of the family, measuring 86cm x 81cm. Yet, despite its small form factor, the Harman brand states that it ‘retains all the mixing and processing power of its two larger siblings, the Vi2000 and 3000’. The Vi1000’s features include the manufacturer’s Vistonics II channel strip user interface and FaderGlow functionality, mimicking the user experience of its bigger brothers. Under the hood, it includes the SpiderCore DSP and I/O engine based on technology from Soundcraft’s sister brand, Studer.

In addition, the Vi1000 can be used as a remote-control surface for the larger desks in the series via their Mirroring feature.

With 96 channels, all including gating and compression ability, the Vi1000 possesses audio processing functionality such as the BSS DPR901ii Dynamic EQ and Lexicon multi-effects via an insertable processing pool.

A total of up to 64 external devices can be installed.

Studer’s vMix automatic voice mixing solution is built in and BSS 966 graphic EQs are available on all output busses.

The console’s rear panel offers access to 16 mic/line inputs, 16 line outputs and two 64-channel expansion slots that allow up to

two MADI-based stageboxes to be connected, or the slots provide access for D21m I/O option cards. Four channels of AES/EBU I/O as well as USB and MIDI connections are also located at the back of the desk, bringing the total I/O count to 212 in x 212 out.

Ecler Essentials sets priorities

100V) loudspeaker lines, with independent four-zone on/off switches.

The Vi1000 also includes a 64 x 64-channel Dante/MADI interface for connecting to computer-based recording software over Ethernet.

This also allows the console to be integrated within a Dante network. The associated optical MADI interface provides an alternate

record feed to MADI-equipped storage devices and can serve as a connection for the Soundcraft Realtime Rack Plug-in engine, delivering Universal Audio’s UAD powered plug-ins to the console’s library.

Finally, to make life a little easier for audio engineers, the Vi1000 includes builtin monitoring support for AKG, Shure and Sennheiser wireless microphone systems. This allows users to check the battery power, RF levels and frequencies of each wireless mic on the channel strip that controls it, in addition to its audio level and clipping status.

www.soundcraft.com

eHMA240

THE LATEST addition to Ecler’s Essentials series is a self-powered audio mixer with an audio priority system, making it suitable for use in applications requiring voice messages for dealing with emergencies. The priority system has four inputs, pager and an embedded chime function

compatible with one-zone paging microphones.

The eHMA240 itself includes two mic inputs, a pair of mic/ Line ST inputs and the same number of Line ST inputs. It features a 240W powered mono output that supports both low

Compatible with the rack-mount accessory 2UHRMKIT, to mount it in standard 19-inch racks, the mixer also features 24 VDC phantom power, a remote control port compatible with WPm series wall panels, aux/rec output, two-band EQ (bass/treble) for mix output, auto stand-by mode and a mute port to remotely mute the unit from an external device, via dry contact closure.

www.ecler.com

Upmix ascends to a higher plane

HAVING ADDED initial support

last update of Halo Upmix, Nugen Audio has now expanded on this with second- and third-order ambisonic functionality and FuMa formats. Higherorder ambisonics greatly increase the recording resolution, but, until now, Upmix users have been restricted to using just the four ambisonic channels that format Ambisonics B-Format. Second and third order increase this to nine and 16 channels, respectively. Additionally, the update will also include both 7.1.4 to facilitate production in auro-3D formats.

Away from Halo Upmix, the manufacturer has released a new

version of its Loudness Toolkit, which includes the VisLM-H

and ISL true peak limiter. The version 2.7 update adds a powercompensated true peak safe dither algorithm for the ISL True Peak limiter. Several different forms of dither are available,

Ambisonics makes Waves

THE WAVES B360 Ambisonics

with ISL automatically compensating for the dither applied and ensuring that TPmax is preserved and that true peak compliance violations are not accidentally introduced in

The company states that this is particularly relevant where content is re-purposed for streaming services, where data compression algorithms are pervasive. Furthermore, 7.1 dialogueanchored analysis and processing is now possible for the LM Correct Meters. The EBU Mode on both new guidance on LRA readings for audio under 60 seconds long.

www.nugenaudio.com

Encoder is a plug-in for converting mono, stereo or surround audio into 360° Ambisonics B-format. It can be used in two ways: the plug-in can be placed on each separate mono or stereo channel for positioning/ panning of that channel in the 360-audio mix; or, after mixing in a conventional stereo or surround environment, the B360 can be mix, as an Ambisonics B-format convertor.

According to the manufacturer, the B360 has been designed ‘to make easier and more user-friendly than ever’. The component allows users to control the mix’ width, elevation and rotation, and position the different elements inside the three-

convertors are also included.

Also from Waves is Nx Ambisonics, the company’s latest component of its Nx Virtual Mix Room over

Headphones. The plug-in reportedly recreates the three-dimensional acoustics of a professional mix room inside any set of stereo headphones. According to the manufacturer, Nx Ambisonics lets mixing engineers listen to their B-format mixes even if they don’t have access to a multidirectional speaker array.

Nx Ambisonics can be personalised according to individual head measurements, while the visual spatial meter represents the audio frequency content in every direction of the three-dimensional

realism, Nx Ambisonics also incorporates a high-speed head tracking solution via the Nx Head Tracker Bluetooth device.

For users wishing to combine both plug-ins, Waves 360° Ambisonics Tools includes the B360 Ambisonics Encoder, the Nx Virtual Mix Room (with the Nx Ambisonics component) and the Nx Head Tracker. www.waves.com

The B360 Ambisonics Encoder

Loudness Toolkit version 2

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

New software updates for EAW

EAW HAS released updated versions of its EAWmosaic iOS app and its Resolution2 acoustic simulation software.

EAWmosaic provides prediction, control and monitoring functionality for the Radius loudspeaker family. Version 1.1.0 provides a range of new features to the iOS app, including support for the RSX218 subwoofer and additions such as Mute and Solo indicators to the front

of speakers in Rig View, a Reset EQ button for loudspeaker and group rear panel views, the ability to search by name in Library View and Quick Start Guide in the Settings menu. The manufacturer states that it has also added improved line array splay angle optimisation in Design View that allows users to input a Coverage Start distance that is used in calculating the angles of the optimised array, and an alert for

S Series goes remote

ADAM AUDIO has introduced its S Control remote-control software for the company’s range of S Series speakers, said to allow customers to ‘remotely control all user parameters and EQ settings on the powerful S Series DSP platform via a Windows or macOS computer’. The software includes a graphic user interface that can display all editable parameters at once, with individually adjustable software controls. A USB connection to the software enables voicing adjustments or

preset selection to be carried out without the need to access the monitor’s rear panel. Users can store their preferred preset information on their computers and recall it for future use, permitting

presets that can be held in the loudspeaker’s internal memory.

In addition to the remote-control software, the manufacturer has also

DSP Firmware Update, V1.2, which it describes as offering enhanced

if Design View array geometry can’t be optimised. Other additions brought by EAWmosaic Version 1.1.0 include SPL mapping to stage and improved EQ visibility for subwoofers that is accomplished by only displaying the 20Hz to 500Hz spectrum. The solving issues such as where arrays were not detected properly and fragments that were incorrectly

shown and where symmetrical systems could incorrectly show asymmetrical SPL prediction. Meanwhile, Resolution v2.4.0.87 delivers multi-select for surfaces and arrays that allows users to manipulate properties such as Solo, Lock, Audience/Non Audience, Ear Height and Hidden On, as well as mass deletion on multiple surfaces or loudspeakers simultaneously. EAW also promises

faster due to better utilisation of multi-core CPUs, achieving speed increases of up to 300% over previous versions’, including the acoustical model and SPL calculations. In addition, Adaptive array coverage can be limited vertically, employing the z-override feature found in Spatial EQ.

www.eaw.com

functionality and new tunings for all of the company’s speakers. The S Control software and the launch of the MyADAM area of the company’s website that

allows customers to receive enhancements, relevant information and insights, user manuals, downloads and engage with the community. The MyADAM user area is available to owners of all ADAM professional monitor speakers. Both the new software and free of charge to registered ADAM Audio users on the new MyADAM section of the company website.

www.adam-audio.com

S

SSL grows its networks

SOLID STATE Logic has launched audio interfaces for Dante and AES67 networks. These are the A16.D16, the A32, the D64 and the Dante PCIeR, which form the Network I/O range. Each system features the manufacturer’s SuperAnalogue analogue circuit design and mic/line, MADI, AES and SDI interfaces.

The A16.D16 includes 16 line inputs (four of which also possess switchable mic circuits), 16 line outputs, 16 digital I/Os in eight

Recording on the move

IK MULTIMEDIA has unveiled its iRig Pre HD, an ultra-compact digital interface with an onboard that offers a frequency response from 20Hz to 20kHz (±1.5dB). The interface permits professional recordings on the go when matched with a professional microphone via its XLR connector, including gain-hungry models and those requiring phantom power.

AES3 pairs and four GPIOs. The A32, meanwhile, boasts 32 SuperAnalogue line inputs and 32 line outputs. The D64 delivers 32 I/O pairs of AES3 audio I/O connectivity to redundant Dante and AES67 network connections, while converters facilitate the integration of unlocked AES sources. Redundant connections and PSUs are shared features of the A16.D16, A32 and D64.

Finally, the Dante PCIeR is compatible with the external PCIe chassis for laptops and offers

iRig Pre HD

The iRig Pre HD features an onboard headphone output with dedicated volume control. In addition, used as an auxiliary output to send recorded sound to external devices.

The A/D converters provide a resolution of up to 24-bit/96kHz. The direct monitor switch allows users to listen to the sound being recorded in real-time or, in regular monitoring mode, check the playback

Pre HD also includes Mic Room, the company’s microphone-modelling tool for T-RackS. For iPad and iPhone users, Mic Pack for VocaLive adds a collection of virtual microphone models to the real-time vocal effects processing and multitrack recorder app, while Pro Bundle for iRig Recorder adds equalisation and compression to the pro audio recording and editing app with video.

www.ikmultimedia.com

Dante connectivity to Macs or PCs. It features primary and secondary network connections and streams up to 128 channels (at 44.1, 48k, 88.2 or 96KHz) or 64 channels (at 176.4 or 192kHz).

In other news, SSL has embraced the dark side, releasing a new version of its Nucleus2 DAW and studio controller with a dark colour scheme. The original Nucleus2 system is now referred to as the ‘Light’ version.

www.solidstatelogic.com

• Up to 10 beltpacks per antenna

• 100 antenna, 100 beltpack system capacity

• Best-in-class voice clarity

• “Touch&Go” beltpack registration

• 6-channel beltpack plus dedicated REPLY button

• Built-in microphone and speaker for Walkie-Talkie mode

• Smartphone integration via Bluetooth

• Ergonomic, robust beltpack design

• Sunlight-readable display with Gorilla Glass™

• Decentralized AES67 IP networked antennas

• Seamless integration into RIEDEL‘S ARTIST intercom matrix

www.riedel.net

Antelope goes Discrete

ANTELOPE AUDIO has released a pair of console-grade microphone preamp interfaces: the Discrete 4 desktop model and its bigger brother, the Discrete 8. These releases follow research into microphone preamp circuitry, applying an FPGA (Field Programmable Gate Array) engine. While designed to work with any microphone, the manufacturer optimised these interfaces for use with its Edge and Verge modelling microphones.

Discrete 4, as the name suggests, features four discrete mic preamps, as well as Thunderbolt and USB connections. It is aimed at musicians and smaller studios and offers 121dB dynamic range conversion. It features fourthgeneration 64-bit AFC (Acoustically Focused Clocking) technology, along with the manufacturer’s real-time FPGA effects engine that

models iconic systems from BAE, Grove Hill, Gyraf Audio and Lang, among others. The FPGA platform has also been expanded to include microphones, preamps, conversion, compressors, EQ and reverb that are accessed via Discrete 4’s EasyPanel software or via any DAW running Antelope’s AFX2DAW plug-in. Users are able to create up to four individual monitoring mixes before sending them to headphones or monitor outputs with any FPGA effects. Discrete 4 can also be controlled remotely, using either the EasyPanel software or the free iOS and Android smartphone apps.

A reliable broadcast mentor

The larger Discrete 8 is similar in its functionality set, with 121dB dynamic range and FPGA engine, but differs in that it offers eight console-grade, six-transistor, fully discrete design preamps. The larger interface also enables users to create custom presets for multiple tracking scenarios. Its front panel houses a large monitor volume knob and dedicated HP knobs for each output, as well as a talkback button and microphone. Alternatively, talkback can be assigned using a footswitch on the rear, via EasyPanel software or with the smartphone app. Discrete 8 provides 26 inputs and 32 outputs, in addition to the eight analogue inputs on a standard 25-pin D-SUB connector. A pair of monitor outs, two ReAmp outs and a pair of headphone outputs are also found, as well as S/PDIF and dual ADAT I/Os.

In other news, Antelope has added four new vintage compressors to its FPGA library. Joining the array of hardwarebased effects are those for the BA-6A, FET-A78, SMT-100A and Grove Hill Liverpool.

www.antelopeaudio.com

Audio Precision adds more codecs

and sink (including AAC), HFP/HSP audio gateway and handsfree, and AVRCP target and controller.

The introduction of the module expands the list of A2DP codecs available to Bluetooth-equipped APx Series audio analysers to AAC, aptX, aptX-HD, aptX-LL and SBC.

APx Bluetooth Duo can act as either source or sink for each of the supported A2DP codecs.

TRILOGY COMMUNICATIONS states that it has built on several generations of its Trilogy Sync and Test Generators to produce an accurate and reliable sync and test pulse generator (SPG) for broadcast. The result is Mentor RG, which generates synchronised

Mentor RG features up to 10 Tri-Level Sync outputs for all 720 and 1080 standards – two of which come as standard on the base unit, while a pair of option cards bring the total to 10. It also has the ability to lock to external LTC time code or external Tri Level Sync, and, in an

APx Bluetooth Duo module

AUDIO PRECISION has unveiled its next-generation Bluetooth I/O module for APx Series audio analysers. The APx Bluetooth Duo module incorporates all the features of the company’s original Bluetooth module, while delivering a wider selection of A2DP codecs, faster pair and connection times, an increased feature set within APx500 measurement software and improved RF shielding for use

in production test environments.

APx Bluetooth Duo incorporates the audio features mandated within v1.2), Audio-Video Remote Control v1.3). With dedicated source and sink radios, the module can switch between the roles of A2DP source

The module is part of an integrated audio test solution and can share analogue, digital, chip-level I2S and TDM protocols, PDM or HDMI interface capabilities installed in an APx555, APx52x Series or APx58x Series analyser. APx500 measurement software provides access to a long list of Bluetooth settings and parameters, plus automation of connection, pairing and settings commands in a stepped sequence for production test applications.

www.ap.com

video, audio and time code signals to a time signature that would typically be provided by a GPS reference system and then passed on to a ‘mission critical’ automation system.

Designed for install as a master reference generator at a broadcaster or in an OB vehicle, Mentor RG simultaneously generates SD and HD reference and test signals for 525 and 625 standards with individual timing control for all outputs. The Clear-Com subsidiary also considered multiple audio generators assignable for AES during development, such as DARS, SD/HD channel-embedded audio, Wordclock and analogue stereo.

IP-based environment, it makes use of the Precision Time Protocol (IEEE-1588 PTP) for added reliability when synchronising time-sensitive audio packets over Ethernet.

‘Generations of Trilogy SPG products are widely deployed in many broadcast studios around the world and are trusted for their accuracy and dependability,’ said Stephen Sandford, product manager, Trilogy. ‘We are pleased to build on this legacy with the introduction of Mentor RG and providing Clear-Com and Trilogy customers access to this latest set of SPG capabilities.’

www.trilogycomms.com

Rupert Neve reinvents a classic

RUPERT NEVE DESIGNS has unveiled its 535 500-Series Diode Bridge Compressor based on the dynamics circuit of the company’s Shelford Channel. The 535 follows in the footsteps of the 2254 compressor but provides modern

control, lower noise, fully stepped controls and internal parallel processing capabilities. The 535 is

six selectable settings, including Fast and MF, which are designed for clamping down transient signals like drums, Med and MS, which have slower attacks and releases and therefore allow more transients through with a longer recovery, and Slow and Auto, which are both

smoother level control. A Blend control enables users to inject smaller quantities of extreme compression into an otherwise unaffected signal, In addition,

The 535 500-Series Diode Bridge Compressor

Ratio, Threshold, Gain, SC HPF and Link controls facilitate further manipulation of the diode bridge compressor.

www.rupertneve.com

Mentor RG

Quantum gets an early sequel

PRESONUS IS touting the success MIDI interface as a major reason for the production of its follow-up, Thunderbolt interface. Slightly smaller than its predecessor, DAW signal path and features dynamic range of 120dB and the manufacturer’s recallable, digitally controlled XMAX microphone preamps.

two combo mic/instrument inputs and two combo mic/line inputs, each possessing an XMAX preamp are also four ¼-inch TRS line outputs and a headphone output with dedicated volume control. Up to 18 additional digital inputs and outputs, making for a total of 22

ADAT optical I/O and S/PDIF stereo digital I/O, while BNC word clock

works in tight sync with other digital audio equipment. MIDI I/O is also present. Additionally, up to

stacked together via Thunderbolt to create an 80x80 system.

PreSonus Studio One Artist DAW is

a full set of preamp control functions, as is the Studio Magic Plug-in Suite. Much of the system’s functionality can also be controlled by the manufacturer’s free UC Surface control software.

Meanwhile, designed to partner with PreSonus’ StudioLive Series III console/recorders, come the StudioLive Series III rack mixers, which can serve as AVB stage boxes, as combination stage boxes and monitor mixers, or as

Jensen targets Ethernet installs

standalone mixers. The series comprises the StudioLive 32R and and the StudioLive 16R (1U). All three are fully recallable and include XMAX preamps.

StudioLive Series III rack mixers can be connected to a Series III

Ethernet cable. Their preamps and phantom power can also be remotely controlled from the larger Series III console. The rack mixers

options on each channel. Scenes can be customised, while a Scene Safe feature prevents a scene change from altering the settings on designated ‘safe’ channels. Meanwhile, Fat Channel presets act

like scenes for individual channels, saving input and Fat Channel settings as well as aux send and bus assignments.

The two larger StudioLive Series III rack mixers each possess 16 FlexMixes, four dedicated subgroups, four internal effects busses/processors and a stereo main mix bus. The StudioLive 16R, on the other hand, has six FlexMixes, two effects busses and the stereo main bus. The StudioLive for controlling groups of channels and the smaller rack mixer offers eight. Up to 55 (StudioLive 32R channels of audio can be streamed via an AVB Ethernet connection to and from a PC or Mac. USB 2.0

16R) recording, while the main L-R mix can be directly captured by an onboard SD card recorder.

www.presonus.com

JENSEN TRANSFORMERS is targeting installations that send line level audio over Cat-5 or Cat-6 Ethernet cables with two transmitter/receiver combinations added to its Iso-Max line. The two models are the PI-RJ2X for balanced XLR connections and the CI-RJ2R for unbalanced RCA connections.

The manufacturer points to systems integrators using products based on low-cost and low-performing baluns, or inexpensive audio transformers for this kind of project. It states that ‘Baluns offer no high-frequency isolation, and miniature, low-cost audio transformers can seriously

degrade the signal quality’. To counter this, the manufacturer claims its solutions ‘maintain true high-performance signal quality throughout the conversion process’. This, it states, is due to the ‘Jensen audio transformers inside each version providing complete galvanic isolation and immunity from hum, buzz and noise caused by ground loops’. In other Iso-Max news, Jensen has also added a pair of models to its line of 35mm DIN rail interface modules – the DIN-LI-SUM-B and

the DIN-LI-SUM-U. Both modules are designed to take a stereo L-R signal (either balanced or unbalanced), sum it into mono and output the signal through one of Jensen’s audio transformers. These modules can be installed by A/V system contractors into rackor wall-mountable 35mm DIN Rail systems. Both have gold plated, screw terminal, pluggable connectors. A schematic diagram showing the internal

circuitry is printed on the side of each module.

www.jensen-transformers.com

StudioLive 32R

DIN-LI-SUM-B

PI-RJ2X

Free Motiv functionality on iOS

THE SHUREPLUS Motiv Video app is free to download on iOS devices and enables users to record uncompressed audio for video. It offers functionality including gain control, EQ and compression, and is compatible with Shure’s Motiv line of products: the MV88, MV51, MV5 and MVL microphones, as well as the MVi digital audio interface.

‘Whether it’s a mobile journalist conducting breaking news

capturing video of a concert, sound quality is critical, and the standard iOS video app rarely offers desirable audio clarity,’ said Paul Crognale, manager, global marketing, musician and consumer audio at Shure. ‘By offering

uncompressed audio through ShurePlus Motiv Video, we’re able to closely represent the original audio source and vastly outperform iOS video recordings.’

The app also features onscreen metering, waveform and video controls that facilitate

Jünger makes D*AP Easy

the integrated management of the visual display. For ease of use, changes to the attached Motiv device’s settings can be adjusted within ShurePlus Motiv Video, without the need to switch between the ShurePlus Motiv Recording app.

In other news, Shure has added new features to its SystemOn audio asset management software, which provides management and control across enterprise-wide deployments of the manufacturer’s wireless systems. New functionality includes remote microphone transmitter linking and ‘pair-aWireless, as well as a new comprehensive inventory dashboard that displays all

ULXD digital wireless and the SCM820 automatic mixer.

www.shure.com

Aten extends KVM over IP Matrix line

four HD video streams into MADI and AoIP (AES67 and DANTE) infrastructures. Netbridge UHD

standard web browser, with all system parameters also controlled by the Ember+ protocol.

‘With its full-blown, 64-channel interfaces, including MADI and AoIP,

‘This enables the unit to manage any to high-channel count immersive audio.’

The UHD option joins a MADI solution in the manufacturer’s Netbridge family. This system provides an AES67 alternative to the 1:1 translation between MADI and

JÜNGER AUDIO states that the redesigned web user interface for its Easy Loudness addition to the D*AP family of digital audio processors provides broadcasters with the ‘maximum ease of use’.

The German manufacturer has reworked the Easy Loudness web interface so that the most important parameters of the operating system are directly accessible from the home page. In addition to the main interface, the device is equipped with an AES/EBU interface to receive a fall-back signal.

Easy Loudness is available in two versions – one with an integrated 3G SDI interface and the other with a Dante/AES67 AoIP interface. Both

versions feature two independent stereo programmes that incorporate the company’s Level Magic algorithm. It also offers automatic fail over switching, dual power supplies, SNMP system monitoring, as well as full loudness monitoring and snapshot functionality. It employs the Ember+ remote protocol, allowing it to be integrated with a range of compatible equipment.

In other news, the company is trying to help close the gap between digital audio production systems and modern video formats with Netbridge UHD. According to the manufacturer, the 19-inch product allows for integration of 4K-UHD or

Netbridge UHD links all kinds of production systems so that audio signals can be easily connected to one 4K-UHD or four independent 3G/HD/SD SDI data streams,’ explained Peter Pörs, Jünger Audio’s business development manager.

Eventide moves with the times

THE H9000 from Eventide is a network-ready, 16-DSP, multichannel, rackmount audio effects processor that features eight times the processing power of the company’s H8000. The H9000 features four quad core ARM processors serving as 16 DSP engines, eight channels of analogue audio I/O, AES/EBU, ADAT, 16 USB audio channels and the option to connect to standard audio networks, including MADI, Dante and Ravenna. According to the manufacturer, the H9000 is a suitable platform for surround sound and for processing several tracks of audio simultaneously. The H9000 also introduces the concept of FX

Dante. Netbridge MADI is equipped with two independent 64-channel bridges and can reportedly translate up to 128 channels between IP and MADI systems.

www.jungeraudio.com

Chains, allowing users to connect routing. FX Chains can be created to act as a voice channel, a guitar ‘pedal board’ or a modular synth with effects.

The processor’s remote-control application, emote, is available for users working ‘in the box’ or over an audio network. emote is available as a standalone app for Mac and PC, and as an AU, VST and Pro Tools plug-in.

www.eventideaudio.com

A PAIR of releases from Aten are extending the range of its KVM over IP Matrix solutions in an attempt to eliminate the distance restrictions of control room management. According to the manufacturer, the KE8950 and KE8952 are aimed at applications such as broadcast control rooms, as well as command and control rooms for security and retail.

The KE8950 and KE8952 4K HDMI Single Display KVM over IP Extenders extend a computer’s KVM console to unlimited distances via Cat-5e or Cat-6 over a LAN, while also supporting connectivity via module over an optical Ethernet network.

While much of the feature set is the same for both products, the extenders differ in that the KE8952 also has power over Ethernet. The units deliver UHD 3840x2160 @ 30Hz at 36-bit colour depth video quality, instant switching between different video resolutions and AES 128-bit encryption. The

native videowall functionality allows users to create multiple videowalls with up to 8x8 displays in each layout in various

Control is via the KE Matrix Management Software. This is manage all KE Series Extenders over a network via a web-based GUI. The administrators can set three permission types –Admin, Super User and User – to meet user and shared access requirements.

www.aten.com

Easy Loudness

Netbridge UHD

ShurePlus Motiv is compatible with the MV88 microphone

The KE8950

Atens’s KE8952 offers PoE

MAKING TOUR-GRADE FEATURES AND PERFORMANCE MORE ACCESSIBLE THAN EVER

Advanced DSP with FIR-Drive and Multi-Amplifier Remote Control (MARC) software enables configuration and control of up to eight amplifiers

Powerful, linear amplifier design and sophisticated protection circuitry for flawless, safe and reliable operation — ensuring constant 2 ohm stability

Fixed installation version includes low- and high-impedance outputs, remote GPIO control and standby power mode for up to a 90% reduction in power consumption

DYNACORD PROFESSIONAL AUDIO SYSTEMS have been proven in countless applications, including venues for many of the largest entertainment and sporting events.

On the go with beyerdynamic

DESIGNED FOR the modern world of musicians’, podcasters’ and monitor headphones claim to offer similar in size to traditional on-ears, which aids isolation.

As well as the new monitoring manufacturer has restructured

pressure gradient receiver and has

provides connection for signal and phantom power – the correct power

According to the manufacturer,

use as a drum mic, and its rugged

guarantees optimum protection against damage during often harsh

to high sound levels, transmission remains free of distortion with the half-cardioid polar pattern drum microphone.

www.beyerdynamic.com

audio experience for professional headphone users.

the two companies scans the to create a customised personal

individual’s ears for maximum when it comes to hearing – the each person’s head, ears and upper torso all affect how that individual experiences the sounds around them.’ www.genelec.com

An ear scan being performed with the IDA software

The DT 240 Pro headphones

Sennheiser’s no dummy when it comes to sound

HAVING PLACED a heavy emphasis recently on its immersive capture and the KU 100 dummy head, a binaural device in a number of industrial applications, the manufacturer claims

The KU 100 can be operated with traditional 48V phantom power, from an external power supply unit or from its supply modes, as well as connectors are additional switches for 10dB

XS 1 dynamic handheld microphone

the manufacturer describes as switch, comes with a stand mount and leatherette pouch, and offers a 55Hz

www.sennheiser.com

DPA gets to the Core

DANISH MINIATURE microphone manufacturer DPA has debuted a new

blue label near the serial number on the cable to differentiate between

rather offers another choice to our capture the sound that they require

Two applications that the

of colour options will reportedly be

www.dpamicrophones.com

More POWER for PAN BEAM series: It was never so EASY to connect and control active BEAM STEERING sound columns with

TECHNICAL DATA

up to 192 kHz Samplerate two Audiostreams with automatic priority switching two DANTE network ports (switch or redundant mode)

QUALITY - MADE IN GERMANY

www.pan-acoustics.de

Find us in hall 7, P220

The KU 100 dummy head

TASCAM sets sights on podcasters

In other news, TASCAM has released Version 2.3 software for its MiNiStudio line of audio interfaces.

added postproduction control and is aimed particularly at podcasters who can record each element of an episode, including guest mics and special effects, on individual tracks within the Windows-based DAW.

TASCAM’S NEW TM-series condenser microphones are primarily intended for personal podcasting and videographers.

The series includes the TM-90BM boundary condenser microphone, the TM-95GN gooseneck electret condenser microphone and the TM-150SG supercardioid shotgun microphone.

The TM-90BM is designed to pick up multiple voices during a discussion, negating the need for individual mics. At a height of 24mm, the half-supercardioid, unidirectional microphone can reportedly record voices as loud as 140dB SPL without distorting, while its Bass Tilt switch allows for

the attenuation of bass frequencies for improved speech intelligibility, or boosts low frequencies when recording from musical sources.

Also unidirectional is the cardioid TM-95GN. This microphone is developed for ease of use, with a dedicated mic stand that features an on/off switch for simple setup, positioning and adjustment. A windscreen to reduce vocal noise pop and a 2.4m XLR microphone cable are included.

The TM-150SG is made for

supercardioid shotgun microphone can handle volumes of 124dB SPL, and includes a windscreen and

Audio-Technica builds new boundaries

AUDIO-TECHNICA HAS begun to ship its new U841R omnidirectional condenser boundary microphone, an updated replacement for the U841A microphone. The new model retains the features that the manufacturer says were responsible for its popularity, but enhances them with new internal electronics that remove the need

Earthworks gets up close

EARTHWORKS HAS added new microphones for drum miking, including the DM20 DrumMic for close miking toms and snare, as well as several multi-microphone kits.

‘TASCAM has engaged with the podcasting community like no other manufacturer,’ claimed Steve Cherubino, director of podfather.net.

‘Podcasters have struggled for years with recording and editing interviews on Skype, and now the MiNiStudio makes it fast and easy.’

Other new features brought along by Version 2.3 include SceneMemory, which provides instant access to saved

those using the MiNiStudio Creator US-42, the option has been added for selectable reverb send on the individual inputs.

www.tascam.com

The DM20 DrumMic is a cardioid condenser microphone designed for live performance and recording environments. Features include a cardioid polar pattern, 150dB SPL rating and response. The manufacturer reports that the right-angle microphone head allows the user to position the microphone

gooseneck ‘will stay put even with the most energetic drummer’.

Each microphone comes with an RM1 RimMount for mounting the microphone directly on the rim of a snare or toms.

The company has also revamped its CloseMic Kits, which package DM20 microphones with RM1 RimMounts, windscreens and carrying case. The CMK4 comes with four DM20 microphones

and accessories, while the microphones and accessories. The DK7 DrumKit is a sevenmicrophone kit comprised of four DM20 microphones for toms and snare, two SR25 microphones for overheads and one low-sensitivity SR20LS for kick drum.

In other news, the SV33 is the microphone said to provide ‘high-resolution performance, staggering realism and purity of sound for male and female vocals’. Incorporating Earthworks’ patented polar technology, the SV33 provides a cardioid polar pattern that is consistent up to

move in front of the microphone

It features hand-tuned circuitry paired with a 14mm capsule, low handling noise and a built-in windscreen to prevent plosives.

Also equipped with UniGuard RFI-shielding technology, the mic has been designed to capture audio in surface-mount television and conferencing applications.

The U841R has a 360° pick-up angle and operates on phantom power. In terms of technical specs, the boundary mic has a 40Hz to 20kHz frequency range, 105dB dynamic range and a signal-tonoise ratio of 69dB. The mic

weighs 84g and houses a TA3Ftype connector.

www.audio-technica.com

Revolabs targets the elite

REVOLABS’ EXECUTIVE Elite is a series of wireless microphone systems that utilise a distributed architecture to separate the remote antenna receiver unit from the base DSP unit, which are connected via Cat-5e or Cat-6 cable supporting PoE for distributed or in-room installations. The 2-channel version is designed for use in auditoria and lecture halls, while the 4- and are primarily for boardroom and conference room audio applications. The remote antenna receiver units can be wall or ceiling mounted and can be placed alongside the wireless microphones. Revolabs synchronisation technology allows

to each other to synchronise, facilitating deployments of multiple receivers. Users can adjust the audio setting to allow for 44 or more microphones in one area in the USA, South America and Japan, and up to 76 or more in Europe, Africa, Asia and Australia.

and wireless microphones and adapters. The range includes omnidirectional, directional, gooseneck and wearable microphones, as well as XLR and TA4 adapters. The microphones also feature Revolabs’ Designed for Speech technology that reportedly makes them suited to ‘any communication application’.

The SV33 has a frequency response of 30Hz to 33kHz ±2dB at 5 inches with self-noise of 15dBA, yielding a 79dB S/N ratio.

input level is 145dB SPL. The mic comes bracket for attaching the microphone to booms or stands.

earthworksaudio.com

In terms of set up and use, been developed for simplicity, allowing end users to remove the microphone from the charger, unmute the microphone and begin

a cross-over adapter allows a tabletop microphone to be charged during use. Meanwhile, both local and remote system management are offered, as the base DSP unit display provides information on microphone status, signal strength and system performance, while a web interface allows users to connect directly to the base DSP unit.

www.revolabs.com

The U841R condenser boundary microphone

The 2-channel Executive Elite system

DM20 DrumMic

DK7 DrumKit

The TM-90BM and TM-95GN

Small in size, big on sound

SE ELECTRONICS is claiming its sE8 condenser microphone, a handcrafted, gold-sputtered, small-diaphragm true condenser capsule incorporating a new backplate design, delivers ‘more even, balanced sound and superior transient response compared to any other small-capsule condenser of comparable price’. The sE8 includes between 80Hz and 160Hz) and two said to provide high SPL handling capability and dynamic range. The paint as the manufacturer’s latest microphones, plus a diamond-cut edge around the capsule. The XLR connector is gold-plated for ‘lossfree, reliable and long-lasting use’.

or peak EQ without harshness, unpleasant colourations or distorted transients – it just stays natural’, said sE’s product manager Thomas Stubics. This is accomplished with path, without the use of ICs or transformers.’

The microphone ships with a newly designed mic clip, mic stand thread adapter and protective wind screen. The sE8 is also available as a matched stereo pair, which comes complete with a stereo mounting bar, two mic clips, two wind screens

sE Electronics has also launched a wireless version of its V7 dynamic microphone, intended for use with compatible Shure handheld

transmitters. Featuring the same custom-built aluminium voice coil, all-metal construction, patented integrated capsule suspension and supercardioid pick-up pattern as its wired sibling, the V7 MC1 reportedly provides the same levels of highand extreme feedback rejection in an industry-standard wireless format. In other news, the company has added two further microphones to its catalogue: an updated version of the sE2200 and the V7 X, a new sibling for the V7 handheld dynamic version of the manufacturer’s sE2200a and sE2200a II C microphones. Utilising the same handcrafted capsule, discrete Class-A circuitry and custom transformer as

Microtech Gefell targets mobile reporters

MICROTECH GEFELL is focusing on the mobile journalism market with the

mic. The German manufacturer states that the SRM 100 is a digital dynamic microphone with an

omnidirectional polar pattern that has been optimised for broadcast applications.

The mic is reportedly compatible with devices and apps on iOS, Android and Windows operating

systems. The manufacturer states that its 40Hz to 18kHz frequency response has been designed for intelligibility, while it also has an internal elastic capsule suspension to reduce handling noise.

the previous versions, the sE2200 reportedly offers ‘improved clarity, options to increase versatility’. The sE’s latest manufacturing techniques. The V7 X’s aluminum voice coil and acoustic design have been use, says the manufacturer, with a ‘lowered resonance and extended frequency response’. The V7 X is intended for use on snares, toms, electric and acoustic guitars, and brass instruments.

www.seelectronics.com

In terms of its vital statistics, the mic records at 24-bit/48kHz, can weighs 210g.

www.microtechgefell.de

The SRM 100

Lectrosonics adds to wireless range

THE NEW members of Lectrosonics’ Digital Hybrid Wireless SM Series, the ‘wide band’ SMWB (single AA battery) and SMDWB (dual AA battery), are described as having ‘a similar look and feel to previous SM Series units’, but include the ability to either act as a transmitter or as a body-worn recorder, as well as wideband tuning.

The SMWB and SMDWB units tune across three standard frequency blocks and come in several frequency ranges: A1 (470MHz to 537MHz) and B1 (537MHz to 614MHz) for the North and B2 (563MHz to 640MHz) and C1 (614MHz to 691MHz) for for these models is selectable at 100, 50 or 25mW (North American version) and 50 or 25mW (certain

SMDWB feature the standard TA5 connector with servo-bias mic input. This input is also found on all previous SM Series units and all current TA5 beltpack units such as the LT and LMb. Any lavaliere microphones wired for these other Lectrosonics transmitters will reportedly also work on the new models. The SMWB and SMDWB units can as a transmitter or stored on Micro SD card memory. Audio

industry standard Broadcast Wave

RTS buckles up

THE SINGLE-CHANNEL BP4000 and double-channel BP-5000 beltpacks from RTS are designed as user-friendly and universal solutions for partyline intercom systems. This is achieved through a combination of smart power management technology, voice guided setup and wiring scheme detection.

in comparison to previous RTS beltpacks and allows users to power up to 40 daisy-chained beltpacks using only a single power supply (PS-20). Cable length versus actual current consumption is continually monitored by a current pump circuit, ensuring the beltpacks receive the power needed.

As soon as the BP-4000 and BP-5000 are plugged in, the wiring scheme detection functionality automatically recognises the wiring scheme either Audiocom, RTS or ClearCom formats. The voice guided setup feature, meanwhile, helps navigate through the menu options, negating the need to switches. The beltpacks can also be reset to factory settings with the activation of a single item

updates can be installed via USB ports.

The SMWB and

Samson launches cover the signal chain

SAMSON HAS released a slew of new products that form a complete signal chain. The American manufacturer has released a new wireless mic system, 4-channel

monitors.

Starting with the source, the AWX Wind Instrument Micro Transmitter UHF Wireless System features what the manufacturer states to be ‘the world’s smallest clip-on transmitter’ with a shock-mounted gooseneck.

(.WAV) format at a 24-bit, 44.1kHz sample rate. The Micro SD memory card can also be used to update Both also feature the same backlit LCD found on some of the manufacturer’s other transmitters, including the LT, HHa, LMb and DBa. The units also include an IR port when using any IR-equipped receiver such as the LR, SRc or Venue 2. This, according to the company, allows for easy integration with a larger wireless system using Lectrosonics’ Wireless Designer software for frequency management and system monitoring.

www.lectrosonics.com

The BP-4000 and BP-5000 are suited to larger broadcast positions and reportedly cover long distances without requiring additional equipment such as repeaters. They are available with either 4- or 5-pin XLR headset connectors, and support dynamic and electret headset microphones.

The smart power management feature reduces consumption

Additional features include talk button control that allows users to select between always on, always off or switching modes; remote mic-kill functionality that allows any user to send an inaudible microphone kill signal, which mutes every beltpack mic in the partyline; and a blinking lamp provides visual

The BP-5000 can also be set to vibrate when a call is coming in on the other channel or when the incoming call lamp needs to be turned off during a production.

www.rtsintercoms.com

trumpets, trombones and other wind instruments, the ATX Wireless Micro Transmitter clips directly to the instrument’s bell with no beltpack or cable necessary. It provides infrared sync to wirelessly match the receiver and transmitter frequency, gain and mute controls, a battery life LED indicator and an 8-hour rechargeable lithium-ion battery.

The unit features an HM60 condenser microphone with a three-point halo isolation mount. The mic capsule offers a supercardioid pick-up pattern that reportedly handles up to 125dB SPL.

The system’s rack-mountable CR99 Wireless Receiver provides 80 selectable channels. The receiver offers True RF Diversity design and tone key technology to prevent unwanted noise when the transmitter is off or out of range.

Moving on to control, the SM4 is a half-rack, 4-channel line

microphone channel with 2-band EQ, voiceover priority ducking, stereo line level inputs, as well as Bluetooth and Samson Stage XPD wireless compatibility.

The unit offers rear panel RCA inputs, as well as front-mounted and its rear-mounted Master Volume control allows users to set the overall output level of

The Voiceover feature enables up to 30dB of ducking while talking through a mic or using the XPD Wireless port with an active ducking hold time from 0.5s to 3s. It also features stereo XLR and RCA outputs, and a Mono/Stereo switch for use with a mono sound system.

Finally, as an output, the manufacturer has created the MediaOne M30 Powered Studio Monitors. Constructed of solid wood with rear porting, the monitor features a 3-inch co-polymer woofer complemented by a ¾-inch silk-dome tweeter housed in a custom waveguide. An internal 20W (10W per channel) studiomonitors. In terms of connectivity, the M30s offer rear RCA inputs, a powered subwoofer.

190mm and weighing 2.95kg, the monitors have a stated frequency response of 50Hz to 20kHz.

www.samsontech.com

SMDWB

The BP-4000

Vyper-KV52

DirectOut puts MADI on the grid

CEDAR makes intelligence intelligible

OFFERING TAILORED features for broadcast, live and studio applications, the SG.MADI from German manufacturer DirectOut is a 1U rack-mount device for converting between Waves SoundGrid and MADI signals. The unit provides visual feedback on the front panel LEDs for sync, sample rate and level metering of the microphone inputs.

There are two mic inputs with switchable PAD and phantom power, two balanced line outputs and a headphone output that form the analogue connections.

Two module-based MADI ports are included, with module choices including optical SC (single-mode or multi-mode), Coaxial (BNC) or SFP. Two computers can be connected to the SG.MADI at the same time

for redundant recording setups. For control, two GPIOs allow for signals to be integrated via the network or MADI link. They may be critical system events or to trigger a recording light. Selectable clock sources are word clock, MADI, SoundGrid or the internal clock.

www.directout.eu

Wisycom keeps the noise down

DESIGNED TO match the its

MPR52-ENG Dual Diversity Receiver has two built-in diversity receivers with both analogue and digital outputs.

With up to 790MHz bandwidth in the 470MHz to 1,260MHz range, the receiver includes multiband frontwideband and narrowband DSP-FM operation is described as giving users various options based on

also available (for example Japan:

1,240MHz to 1,260MHz).

Features include a low-noise

Voltage-Controlled Oscillator (VCO)

with ultrafast spectrum scanning, while the automatic scan and transmitter programming works via infrared technology. The DSPbased receiver can be monitored and controlled through USB and Wisycom Manager 2.0 software, which reportedly transforms the MPR52-ENG into a low-noise portable spectrum scanner. The receiver comes with a dual whip antennas plus a dedicated frequency scan option. The battery pack can be charged with the dedicated charger or through the micro-USB-B connector.

www.wisycom.com

Audio Limited goes digital with A10

WITH VARIOUS frequency changes happening around the world and new technology developed to tackle congested RF sites, there is no shortage of new wireless audio systems joining the market recently. The latest offering on this front from UK manufacturer Audio Limited is the A10 digital wireless microphone system, which boasts best-in-class latency of 2ms and is suitable for a wide range of production applications. The system comprises the A10-TX digital bodypack transmitter and the portable A10-RX digital 2-channel true diversity receiver.

The system operates in the 470MHz to 694MHz UHF band, with up to 20 A10 digital wireless systems able to simultaneously operate in a single 8MHz TV channel, reportedly without

compromising RF range, audio quality or latency.

The A10-TX transmitter is stated to house a low-noise, broadcast-

Lemo input that accepts balanced or unbalanced microphones, linelevel signals and lavaliers. It can also provide 48V or 12V phantom power and includes an analogue

A10-TX models are available: the A10-TX-A (470MHz to 548MHz), A10-TX-B (518MHz to 608MHz) and A10-TX-C (594MHz to 694MHz).

The transmitter also includes a digital audio recorder and timecode generator and can record timecodestamped audio to removable microSD cards. External timecode can be jam synced to the A10-TX through the Lemo input connector and the A10 will reportedly

POLICE, SECURITY and counterterrorism forces require covert audio surveillance systems that are rugged while remaining as small and light as possible. CEDAR has designed its SE 1 Speech Enhancer to provide a system that is ‘simple to operate and able to run on batteries as well as mains power so that it can be used in the

and speech enhancement in a small device that sits immediately

independent headphone outputs for live monitoring directly from the unit. A single SE 1 can be used to monitor two microphones in a single location, or two listeners can monitor single microphones in separate locations. Users can also take input from a single source and create two output signals – the untreated audio and and investigators can hear both version.

between the probes (microphones) and the headphones. Said to offer ‘minimal’ latency and ‘simple’ controls, the enhancer has a 12V power input and is small enough processing capabilities reportedly audio, reduce noise and improve the listenability of audio captured in adverse conditions. According to the manufacturer, the SE 1 integrates easily with other equipment using either analogue or digital inputs and outputs, and incorporates two

The SE 1 offers two simultaneous processes said to maximise listenability and suppressor based on CEDAR’s FNR (forensic noise reduction) system. The second is a signal further reveal the speech, which incorporates a limiter to avoid output clipping distortion if a sudden loud sound occurs when monitoring an otherwise quiet signal.

www.cedaraudio.com

maintain timecode even during battery changes.

The A10-RX 2-channel true diversity receiver is available in either a Superslot version with DB-25 connector (A10-RX-SL) or with hard-wired XLR and power connectors (A10-RX-XLR). Both receivers tune across the full 470MHz to 694MHz bandwidth, meaning the A10-RX receiver can be used with any of the three A10TX transmitters.

The receiver has four digital receiver circuits, two used on each channel. Like other true diversity systems, Audio Limited’s proprietary Advanced Digital Diversity System (ADDS) selects the receiver circuit with the best RF signal to provide true diversity operation. The manufacturer also adds that ADDS goes further by

combining bitstreams from each receiver circuit simultaneously to assemble error-free digital audio from two weaker RF signals, increasing drop-out free reception to increase the reliability of the RF link in challenging environments.

Remote control of the system is

possible with the free iOS and Android A10 Remote app, with key functions including input gain, start/stop record and transmitter frequency.

www.audioltd.com

The A10 wireless transmitter and receiver

MPR52-ENG

The SE 1 Speech Enhancer

Illuminating the stars

THE MAVERICK MK Pyxis is said to ‘empower creativity’ with its beam and wash effects, wide zoom range, 360° continuous pan and tilt movement, and aerial and pixelmapping effects. At the centre of the Pyxis is a single homogenous beam angle. Surrounding this is an outer ring made up of nine 15W RGBW LEDs with a 7° to 45° zoom angle.

and outer ring illuminance of 27,560 lux at 5m. A built-in virtual gobo wheel with background colours

A Chorus that moves

THE NEW

LED batten luminaires from Elation Professional are designed to provide more manoeuvrable, adaptable lighting effects than their strip light peers. The series initially comprises two multi-purpose LED bar Chorus Line 8 and the 16-pixel bar Chorus Line 16 – each of which features a wide motorised zoom and 220° tilt axis movement.

RGBW LEDs with full pixel control. They are designed for use as visual effects, foot lights, wash lights and cyc lights among other applications. A variety of saturated colours and pastel shades can be achieved via their RGBW colour mixing capabilities, while colour presets and macros are also included, as is an electronic strobe function, 16-bit dimming and variable dimming curves. Gamma correction and PWM frequency can be adjusted as per individual requirements, while control is offered by way of DMX 512-A with full RDM and Art-Net support, as well as the Kling-Net protocol.

Adding to the Artiste range, which began with Artiste DaVinci last year, Elation has introduced the Artiste Dali moving head. It features a hybrid engine that combines a 300W LED source and 100W laser phosphor source for reportedly greater beam and spot effects.

Features and effects include eFly wireless DMX, CMY+CTO variable colour mixing, colour wheel, rotating and static gobos, prisms, animation, zoom and frost.

With regards to Artiste DaVinci, the lighting manufacturer has released a version in white. Artiste

can be used to make the outer ring appear as if it’s spinning. Builtin colour effects also add to the

The Maverick MK Pyxis works with DMX, W-DMX, SACN, Art-Net enabled for remote addressing and trouble shooting. It also converts TCP/IP signals to DMX for shorter data cable runs, and it includes a battery back-up touchscreen display with auto rotate depending www.chauvetprofessional.com

GDS focuses on the décor

LIGHTING MANUFACTURER

GDS has drawn inspiration from its ArcSystem Pro range to develop a new line of generalpurpose architectural lighting solutions. The ArcSystem Decor range has been created to provide the same quality of light – the manufacturer assures that all lamps have a CRI of 90 or above and the same GDS support as its Pro counterpart.

ArcSystem Decor is now available as a complete, standalone range and in options from single-cell to multi-cell, including one, two, four and eight cells. It also offers 100% to absolute zero dimming using wired DMX or the wireless ArcMesh protocol.

In addition to the new Decor range, the British manufacturer has stated that innovations in lighting technology have also allowed it to revisit the design of its D1 single-channel and D4 4-way drivers to produce a

48-way version in a rackmountable package. The result is the D48 driver, which is compatible with all ArcSystem Pro Fixtures and makes use of Cat-5 cabling for distribution.

www.gds.uk.com

GLP feels the Force

blend in aesthetically. Finally, Dartz 360 is a full colourgobos and effects. A narrow-beam luminaire, it houses a singlesource 50W RGB LED engine that produces a 3° beam for effects similar to a discharge lamp. It is capable of continuous 360° pan and tilt movement, and creates gobos, dual prisms, frost and remote focus looks.

www.elationlighting.com

Ayrton gets a spotlight

AYRTON HAS spotlight, Ghibli. With a compact and lightweight design, it has been created to handle large-scale arena applications with a 23,000 lumen output. An optional High CRI Mode can also be selected for applications when an even higher light output is needed. Ghibli also features a 7:1 zoom with a beam spread between 8.5° and 57°, as well as CMY colour mixing, variable CTO and a complete effect section that includes a pair of gobo wheels, a prism, an animation wheel, two frosts and

a rotating framing system that facilitates a full wipe.

Also new is the MiniPanel-FX, which joins the French manufacturer’s FX-Zoom range. It has a zoom spread of 3.6° to 53° and houses four of Ayrton’s proprietary square lenses in a

beam and wash light. MiniPanelFX is designed to complement its siblings, the MagicPanel-FX and MagicBlade-FX, with its endless double rotation functionality.

www.ayrton.eu

GLP HAS made a break from its traditional moving lights with Measuring just under 1.4m2, the variable speed fan that can run at speeds as low as 30rpm or as high as 750rpm, and can change ‘from one extreme to the other at a super quick speed’.

Designed to create scenic effects or be used as an air mover (or a combination of both), the Force 120

features bands of LED tape that light the actual fan blades and can be controlled with differing levels of density, allowing singleor multi-colour projection onto the blades. The Force 120 has an auto-sensing power input, a sturdy construction, built-in transport wheels and multiple rigging points, according to the manufacturer.

www.glp.de/en

ArcLamp B22 Candle

Maverick MK Pyxis

Chorus Line 8

Ayrton Ghibli

Force 120

Acrobatics and ropewalking

AMONG A string of new product launches from Draper is Acrobat, which is intended to lift and lower a wide range of equipment, such as projection screens commonly found in houses of worship, hotel ballrooms, school gyms and convention centres. Acrobat has been designed for ease of use and installation, and can be set up as a complete assembly or as a subjobsite requirements.

Acrobat can lower projection screens up to 15m, negating the need for extensive projection screen black drop. With a 680kg lifting capacity, the system can handle all manner of equipment, backdrops. Control options available include a wall switch to provide contact closure for tying in third-party control systems.

Keeping with the circus theme is Ropewalker, which Draper has built with large venues, particularly those with tall ceilings, in mind.

Ropewalker lowers a motorised screen housing from the ceiling with cables. From the screen housing,

the screen itself descends, offering a visual solution without black drop between the screen and the ceiling.

In total, the screen can be lowered up to 10m, and it is available in a wide range of tension and nontensioned viewing surfaces up to 5.5m wide. Screen types include 8K-ready TecVision.

Speaking of screens, Draper is claiming to have created the ‘industry’s biggest ½-inch-thin bezel

viewing surfaces. Available in sizes up to 9m in width, as well as standard HDTV (16:9), 16:10 and CinemaScope 2:35.1 aspect ratios,

Edge option, which allows users to make full use of the screen’s size. It is also available with a variety of screen types, such as TecVision,

and for a range of requirements, including 3D and Ambient Light Rejection.

with a light frame that is reportedly ‘easy to assemble’ thanks to a new sliding hook-and-loop viewing surface attachment system, and

Optional LED lights can be included

colourful looks.

Draper has also redesigned its Video Conferencing Camera Lift (VCCL), used for hiding videoconferencing cameras above the ceiling. It is now capable of supporting larger cameras and able to lower the camera up to 3m below the ceiling while keeping it centred. The camera’s down position is also more easily adjusted over a wide range following the redesign.

Away from screens and lifts, Draper has introduced EchoControl, an acoustic treatment designed to reduce sound reverberating off windows. Motorised and manual versions are available and the American manufacturer claims an NRC (Noise Reduction the sound-absorption properties, EchoControl’s window shades diffuse light, reduce glare, control solar heat gain and reduce fading of interior furnishings. They are they are infused with Microban antimicrobial product protection.

www.draperinc.com

Draper EchoControl

BXB takes a place at the conference

that when a speaker turns on their microphone, the HD camera autotracks the speaker’s image in close-up mode. When another speaker turns on their microphone, the camera turns to that speaker’s position, and so on.

Q.con can support up to 40 participants at a single location. All that is reportedly required to initiate a conference is for users to plug into the system via a USB cable, with no additional drivers or downloads necessary. It supports Skype, Wechat, QQ and Hangouts.

Conferences shot over IP

a single-class classroom. Users can project their multi-media learning materials onto a screen by connecting to a PC, smartphone or USB pen drive, thereby reducing the need for printed materials.

MANY VIDEO conferencing solutions rely on the placement of high-sensitivity, omnidirectional microphones in the centre of a meeting table. Taiwanese manufacturer BXB has several issues with this approach that it aims to alleviate with its newest solution.

BXB’s Q.con (quickly connected) hands every participant a personal cardioid microphone to prevent any surrounding noise (such as chairs moving or people coughing) being caught on the audio. Q.con can also shield off any private conversations that might be taking place in the room.

Q.con is equipped with image autotracking and a close-up function so

Meanwhile, Clax Classroom Solution from BXB has been designed for

Clax is also equipped with a recording function so that users can record their lessons and upload them to the cloud. Clax can also live stream to other classrooms so that the resources in each classroom can be shared to reportedly make www.bxb.tw

THE CONFERENCESHOT FX is Vaddio for use in small- to medium-sized conference rooms. It boasts USB 3.0 and Ethernet RJ-45 connection ports for simultaneous uncompressed USB 3.0 and IP (H.264) streaming outputs at resolutions of up to 1080p/60. The camera itself features a 2-megapixel, native 1080p/60 (full HD) image sensor and 3x optical zoom with a of 88°.The IP stream resolution is selectable, while the resolution of the USB stream is auto-negotiated with the conferencing client. It also includes UVC (Universal Video Class) drivers that are supported by Windows, Mac and Linux operating systems, and are compatible with the majority of UC conferencing applications. Control of ConferenceShot FX is offered through a range of means. These include Telnet or serial RS-232 control using

administrative control via a web interface that allows remote management while monitoring the stream separately and IR control using the remote control provided in the box.

DIP switches enable the user to image.

www.vaddio.com

ConferenceShot FX

Updates at MediaCentral

AVID HAS extended its MediaCentral platform with a new media production suite that provides a raft of customisation and scalability options, as well as a cloud-based user experience, editorial, production, news, graphics and asset management.

‘Any media professional can access these tools,’ explained Dana Ruzicka, VP and CPO at Avid. ‘They select the apps they want, switch on the modules they need a wide array of media services and partner connectors. And they have the option to deploy wherever they want, either on premises, in a data centre, in the cloud or a combination.’

The redesigned MediaCentral Cloud UX offers a task-oriented graphical user interface that is built to operate on the majority of systems, including mobile devices. MediaCentral’s apps are accessed via Cloud UX, including those for searching and browsing media, researching data and social media feeds, logging, editing, reviewing and approval, and publishing.

for basic editorial, production,

newsroom, graphics and asset management, while the suite of media services includes those for content reformatting, distribution, social media integration, indexing, search, content retrieval and cognitive analytics.

Meanwhile, MediaCentral connectors facilitate integration of

with over 2,000 partner products from a growing list of more than 600 partners. At the heart of the system is the platform engine, which centralises and scales

administration and media indexing,

Avid has also introduced the Maestro family that delivers 2D and 3D graphics for use with MediaCentral. This leverages the MediaCentral Graphics Management module and MediaCentral Maestro News

for graphics creation by unifying several graphics packages. The Maestro portfolio is formed from individual modules aimed at

various production types, including Maestro Sports, Maestro Virtual Set, Maestro AR, Maestro TD Control and Maestro Interactive, as well as Maestro Branding, Maestro Designer and Maestro Channel in a Box. ‘The Maestro product family delivers graphics solutions to craft 2D, 3D, and virtual and augmented reality graphics in real-time across all platforms,’ said Mr Ruzicka.

In addition, Maestro News has been launched amid other MediaCentral solutions for newsroom applications. These

Single-handed production from Panasonic

MANY BROADCAST

manufacturers have set their sights on the smaller, individual podcaster-type broadcaster in recent months, and Panasonic is no different with its latest all-inone solution. The AV-HLC100 Live Production Center combines a 1ME switcher, remote camera controller and audio mixer functions into a single solution that can be operated by a single person for applications such as live streaming. It offers a simple upgrade path for users with limited technical experience looking to expand their media footprint.

The HLC100 Center has been designed to work with Panasonic PTZ and systems cameras and can deploy and discover them automatically using IP video

transport, although SDI may be used as well. In addition, it is stated to work with all NDI-capable video sources. Compatible cameras include AW-HE130, AW-HE40 and AW-UE70 PTZ devices, as well as AK-UC3000 and AK-HC5000 studio camera systems and the AK-UB300 4K Box Camera with streaming outputs.

For remote camera control, pan, tilt, zoom and focus operations can be performed with one hand with the HLC100 using the large joystick. Output format support includes 1080/59.94p and 50p, and there is also a cross conversion function. Smooth transmission can be achieved since it is possible to mix embedded, line-input and mic-input audio and add it to the

The AV-HLC100 all-in-one solution

include MediaCentral Newsroom Management, a customisable and rundown management, as well as MediaCentral Production Management and Graphics Management solutions. Joining these on the hardware side are Nexis Pro, which scales to 160TB, the Nexis E2, which supports SSD drives and the FastServe family of video servers (FastServe Ingest, Live Edit and Playout) that feature supports UHD and IP I/O. In other news, Avid has released a raft of VR and music creation functionality to accelerate are given the ability to work on virtual reality (VR) projects with Facebook 360 Spatial Workstation and utilise integrated Dolby Atmos

Tools is packed with features from MIDI enhancements that capabilities for post-professionals, to new collaborative capabilities for aspiring pros,’ noted Rob D’Amico, director, pro audio market solutions at Avid.

www.avid.com

user interface that will enable Multiview monitoring, graphics overlay insertions, media players, audio mixers and more. According to Panasonic, the user interface focuses on ‘simplicity and quick and easy operation of advanced settings’.

video. In addition to NDI input/ output IP transmission, RTSP input and the RTMP network protocol are supported, enabling direct input of the IP video of Panasonic PTZ cameras and direct transmission to live streaming services such

as Facebook or YouTube Live.

Additional connectivity comes in the form of 3G-SDI (four video inputs, two video outputs) and an HDMI out for the user interface.

The hardware panel is complemented with a software

For those simply seeking an upgrade to their switching capabilities rather than a complete all-in-one video control solution, the manufacturer has also announced the AV-HS7300 as line-up.

The large-format model is 4K-ready and will support up to 72 inputs and 42 outputs.

www.panasonic.com

MediaCentral Cloud UX

The AV-HS7300 switcher

30 HDL 30-A

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Switchers for all formats

embedding function allows users to select which audio source to embed separately to SDI outputs 1 and 2, to separate multiple audio sources in postproduction. An automixing function automatically adjusts the audio level based on weighting, maintaining even levels.

Roland has also improved upon its V-800HD multi-format video switcher with the release of a Mark II model. V-800HD MK II offers new dedicated switches for aux source selection as part of a redesigned interface and an advanced keyer that allows users to adjust HSV

WyreStorm removes the compression

WITH ITS NetworkHD 600 Series, WyreStorm is claiming lossless AV-over-IP distribution for 4K HDR over 10GigE.

ROLAND’S V-60HD is an integrated video switcher and audio mixer that is aimed at use in live event production applications, as well as broadcast, recording and streaming. Designed for portability and ease of use, it supports 3G-SDI camera, RGB and scaled HDMI inputs among other sources such as computers and tablets via a variety of video connections.

The V-60HD supports both video and VESA resolutions from 480i up to WUXGA, while a de-interlacer facilitates simultaneous 1080i and 1080p SDI video sources from multiple cameras to be used without the need for an external signal converter. Still image capture and import is enabled by two dedicated cross-points. Meanwhile, programme, preview and outputs for multiple screens. The aux can be assigned to any of the four discreet SDI or HDMI outputs, enabling switching from the eight input channels, such as four SDI, two HDMI or one RGB and two still images uploaded via the USB port.

The menu is accessed via a 3-inch LCD screen on the front of the V-60HD. Programme and preview feeds, in addition to up to eight video sources with audio meters and labels, can be monitored using control are also available using the V-60HD RCS software application on a PC or Mac, while V-60HDs that have been permanently installed can be controlled remotely from touchpanel interfaces attached

with the LAN or RS-232 port. The LAN port also supports the manufacturer’s wireless tally system for PC, iOS and Android. The USB port, on the other hand, memory settings and to install software updates. The switcher also includes buttons with PGM/ PST LED colour indicators, a T-bar and DSK (downstream keyer) quick

colour parameters such as the amount of Chroma and phase range. Multi-zoom functionality allows one video input to be shared internally with up to three more inputs and the scaler for each input can zoom into any position in the video image to give the appearance that additional cameras are connected, which creates a virtual multi-camera environment.

‘There are a number of 4K-over-IP solutions out there that claim support for 4K HDR at 60Hz 4:4:4 over 1Gb, which might sound great but not when you consider how heavily compressed a signal has stated WyreStorm NetworkHD and control product manager, James Meredith. ‘The result will exhibit banding, blockiness and softening of the image as the compression attempts to essentially generalise bandwidth. If video quality is your endgame, you can’t use a 20-to-1 compression 1Gb solution. Only a 10Gb solution will give you a mathematically lossless image and audio that are indistinguishable from an uncompressed source.’

connected devices. Full HDMI audio pass through supports all the latest audio formats, including 5.1 downmix. According to the manufacturer, broadcast-quality scaling enables the 600 Series to not just mix and match display resolutions but also composite multi-view video and videowall support up to 16x16, including bezel correction.

edit knobs for key level and gain. Time-based correction and frame sync ensure seamless transitioning between six video sources and two still busses.

As for the V-60HD’s 12-channel audio mixer, it includes four TRS/ XLR combo jacks with 48V phantom power, an RCA stereo pair, and audio de-embedding capability from six video inputs. Audio processing capabilities include powerful dynamics and effects, such as a limiter, 3-band EQ, delay and the ability to select audio-follows-video channels. A multichannel audio

V-800HD MK II presents a dedicated scaler for each input, with the majority of digital and analogue input types available. The output side scalers allow for direct connection to LED walls without the need for external scaling devices. A built-in HDMI multi-viewer facilitates monitoring and an additional two channels are available for still images, which can be uploaded via a USB memory stick or frame grab. Channel buttons can be reordered with 10 assignable video cross-points.

www.proav.roland.com

With the NetworkHD 600 Series, AptoVision’s BlueRiver NT2000 with Plethora engine reportedly delivers uncompressed seamless switching of true full HDMI 4K UHD @60Hz 4:4:4 with HDR and zero-frame latency over Cat-6a up to 100m via off-the-shelf 10Gb Ethernet switchers. It also features HDMI 2.0 and HDCP 2.2 support, with independent breakaway switching for true matrixing functionality, audio embedding, de-embedding and down-mixing. Full gigabit Ethernet pass through also enables the daisy-chaining of network-

Staying in the same family, but moving down in scale is the NetworkHD 400 Series, the manufacturer’s 4K HDR over 1Gb solution. Based on the JPEG2000 platform, the 400 for applications where high quality and low latency of less than a single frame are key requirements. Reportedly supporting all SD, HD and 4K UHD formats with HDR, 400 Series encoders and decoders feature auto-scaling to handle mixed 4K and 2K components, while HDCP 2.2 compliance ensures integration with 4K content and sources. It boasts multichannel audio up to DTS:X and Dolby Atmos, while an internal audio matrix is capable of routing audio separately from video to any decoder. Support for 16x16 videowalls includes rotation for portrait walls and image

capabilities are via plug-and-play network setup using standard managed PoE switches.

www.wyrestorm.com

NetworkHD 600 Series

NetworkHD 400 Series

V-800HD Mark II

V-60HD

AJA updates on all fronts

AJA’S IO output device has gained

I/O connectivity, advanced rates.

The increase in bandwidth laptops.

The device also features an daisy-chaining.

The Io family of products – as well as those in the Software, which has added

of audio tools to facilitate the recording of voiceovers. These include new audio controls to adjust the monitoring mix playback, host system audio and voice over/punch-in mic input; the ability to audition music or other audio from a web browser/MAM/cloud while listening to playback from a

to record voiceovers to timeline with low latency, full duplex

SAM adds motion compensation

WITH ALCHEMIST

Active Media (SAM) is offering motion compensated frame rate media streams. The system is particularly aimed at live sports broadcasters that require ‘smooth, server platform and supports conversion or multiple channels of According to the manufacturer,

the problem of artefacts during

that the solution eliminates the doubling of imaging on moving objects; loss of resolution; jerky or inconsistent motion; and loss of object integrity, when objects break up and change shape with poor conversion.

In other news, SAM has

switchers with the release of

Ultimatte keying for AR

objects move behind the tinted object, accurately preserving the colours.

Meanwhile, the system’s one-touch keying technology provides ease of operation by analysing a scene and automatically sets more than

capabilities to all inputs and production switcher, and handles the Electrical Optical for real-time control of Perceptual Quantizer (PQ), also includes colour space

www.s-a-m.com

interfering with other colours.

touchscreen remote that connects connected to the same remote, which facilitates custom control with the Simply Telnet open, textbased protocol.

time compositing processors for broadcast-quality graphics. It brings augmented reality (AR) elements into shots and features new algorithms and colour science, as well as edge handling, and greater colour separation and better spill suppression than its predecessor. The hardware is designed to be an ‘affordable’ option, making it suited to organisations on a budget.

time being, providing the ability

enabling the use of existing removes the problems caused by using multiple cameras for keying by adding dedicated keyers to every camera.

compositing mode that has been developed to correctly add tinted objects on top of a foreground image. This, the manufacturer states, even works when talent or

edge and transition processing to remove backgrounds without

Telestream sets a rendezvous

The software allows Adobe from multiple locations, and also makes it easier to record voiceovers into existing media directly on the timeline. Adobe for video and audio I/O with laptops. www.aja.com

TELESTREAM HAS released version 8 of its Wirecast live streaming and production software with the addition of a new Rendezvous feature to assist in multi-site production. Wirecast Rendezvous supports multiple remote streams from any internetconnected device simultaneously. It works like a video conferencing system, allowing users to broadcast live video feeds from anywhere.

‘The Rendezvous dashboard makes it easy to conduct panel interviews, talk shows and video conferencing, and utilise remote screen sharing,’ explained Tom Prehn, senior product manager at Telestream. ‘What used to be a challenging, complex process involving third-party video conferencing platforms, complex

audio and video routing, screen or baseband capture, can be accomplished natively within Wirecast in moments.’

Guests that join the Rendezvous session can be added to any shot in the Wirecast production. Remote guests can share video camera, microphones and screens with the host. Rendezvous is also developed to work with the Wirecast iOS camera and the Wirecast Go RTMP streaming app.

Other highlights of Wirecast version 8 include a redesigned render engine, multi-view support for monitoring up to 17 live sources independently on external monitors, improved alpha and gamma levels, encoding, support for WASAPI, ASIO and other audio interfaces, and

IP-based workgroups.

On the hardware side, Telestream

a portable live streaming production system. It facilitates plug-and-play streaming and comes pre-loaded

www.blackmagicdesign.com

with Wirecast Pro software, capability for local, baseband video output.

www.telestream.net

Alchemist XS

Ultimatte 12

Ultimatte Smart Remote 4

Wirecast version 8

For-A on an Odyssey for Insight

FOR-A PARTNERED with Uruguayan software developer Odyssey Development to produce the Insight4 multichannel video server. Also referred to as the Insight Production Server, it is a 4-channel playout system designed for use in studio and OB applications.

Insight includes a web interface facilitating control of the server from any device. Assignable user groups and a range of security

in content protection for largescale productions in particular. Meanwhile, a relaxed security

operation in trusted environments. Different content can be made available to different user groups and video is streamed to web clients, displaying the actual content to allow users to visualise and control Insight from a single computer screen.

Insight supports up to four SD or HD channels, or single-channel 4K, from its 1U enclosure. It includes sub-clip editing functionality for the creation of multiple clips based on in-point and out-point. Files can be ingested and sent to

can be included in a single playlist. When used alongside For-A’s Hanabi switchers, Insight provides a full production suite. The newest Hanabi family member – the HVS490 3G/HD/SD video switcher – inherits many of its traits from the HVS-2000 and HVS-390HS, while adding 4K capabilities to the mix. The HVS-490 features MELite technology, which uses an optional HVS-49IO card and boosts the switcher’s two M/Es to offer six M/Es worth of performance. The switcher’s capabilities are further expanded with the ability to

Another Hippotizer from Green Hippo

MONTANE+ IS Green Hippo’s latest Hippotizer Media Server, described by the manufacturer as a ‘formidable force in the live production world’. Featuring Notch real-time motion graphics, Montane+ enables users to create, simulate, render, composite, edit and play, all in real-time. Hippotizer V4’s pin system allows users to

assign FlexaKey or 2.5D DVE for the compositing of up to 12 keyers.

Finally, there’s the FA-505 multichannel signal processor, which For-A has affectionately nicknamed ‘THE Processor’. It’s a frame synchroniser that enables

inputs and the same number of outputs. The processor is 4K-ready and HDR compatible, as well as being compatible with 3G, SD-SDI and HD feeds.

www.for-a.com

www.odyssey.com.uy

control content from the lighting desk or from another controller. Content can be exported and played back directly within Hippotizer. Montane+ features two DP 1.2 outputs and reportedly offers the very latest graphics card technology, enabling over 25,000 Notchmarks.

‘Even the most demanding of 3D and generative projects are

handled with ease and control’, said Ryan Brown, product manager, Green Hippo. ‘Montane+ pushes the creative boundaries of A/V professionals.’

The media server also comes with 10 free Notch FX as standard, plus a play-back licence.

www.green-hippo.com

Grass Valley takes the hassle out of tracking

GRASS VALLEY is claiming to broadcast camera with integrated camera tracking capabilities. The product is the result of a partnership between the Belden brand and AR and VR technology manufacturer Mo-Sys Engineering. The solution pairs Grass Valley’s LDX Series Cameras with Mo-Sys’ StarTracker tracking technology to produce a ‘fully optimised’ setup that removes the need for bolt-ons and additional cables. As an all-inone solution, the manufacturers also claim the product weighs less, making it applicable for SteadyCam and handheld applications.

The StarTracker system works by

(stars) that are randomly applied to studio ceilings or lighting grids, providing freedom of movement while ensuring accurate real-time position, rotation and lens data. Grass Valley’s LDX 82/86/86N Series cameras have been adapted to include the StarTracker system. The cameras, combined with Grass Valley’s XF Transmission, provide power and

JVC adds graphics

synchronisation internally to the StarTracker system. The camera tracking data goes directly into the XCU in the control room via the there, it can be interfaced over IP to a virtual studio system.

www.grassvalley.com

Remote access from Marshall

MARSHALL ELECTRONICS has unveiled its CV-RCP-100 Remote Touchscreen RCP camera controller for broadcast POV cameras. The CV-RCP-100 features a touchscreen interface with menu and sub-menu layouts, pre-programmed with self-help dialogues, favourites settings, save features manufacturer states that the camera ‘offers the convenience of remote adjustment of various camera brands and models from 300m away without having to go to the on-screen menu’.

to enable precision adjustments for white balance, red/blue gain, gamma, brightness, exposure,

NewTek keeps busy

NEWTEK HAS unveiled LivePanel, described as a fully customisable, browser-based control system that the company has added to all its NewTek IP Series multi-camera production systems. Accessible from a smartphone, tablet, laptop or desktop device, LivePanel allows users to access their own any web browser on the same network. Users can also preview and monitor videos of any video source within the browser for immediate visual feedback. LivePanel also increases the number of operator positions available for TriCaster TC1 and IP Series systems in larger-scale production environments.

In other news, the manufacturer

has also introduced NewTek Connect Spark, a portable device designed to wirelessly deliver SDI and HDMI video to a computer and/ or an IP network. Connect Spark products are IP video converters with built-in NDI functionality. The units deliver video as an IP source to any standard network via Wi-Fi or standard Ethernet cable. Connect Spark also records directly on the unit to SD cards or USB drives. Meanwhile, NDI version 3 is the third generation of NewTek’s IP video technology. The update is said to provide ‘numerous advanced features and performance improvements while maintaining full forward and backward compatibility’. NDI version 3

shutter and frame rate. Remote adjustments can be applied globally to multiple cameras simultaneously or individually for each camera. The CV-RCP-100 incorporates a locking three-pin XLR connector for transmission of VISCA protocols over RS485/RS232 up to 300m away.

The CV-RCP-100 is compatible with all Marshall ProSeries POV, Zoom Block and PTZ cameras, and comes preprogrammed with control protocols for popular non-Marshall branded cameras on the market, including Sony, AJA and Panasonic.

www.marshall-usa.com

supports multicast with forwards mode suitable for wireless or longdistance transmission, PTZ camera control and tally and improved encoding.

NewTek has also launched its NDI camera, a PTZ plug-and-play camera with built-in NDI functionality. The camera transmits full 3G 1080p 60 video directly to NDI-compatible products across a standard network via a single Ethernet cable. Once connected to the network, the camera is visible to all compatible systems running the latest version of NDI. The camera is automatically recognised by applications such as GoToMeeting, Skype, Skype for Business and Zoom Media.

JVC HAS added built-in graphics capability to its GY-HM200ESB ENG camera as well as the KYPZ100 pan/tilt/zoom camera. This functionality allows the user to create overlay graphics directly in the camera, without the need for any further additional hardware.

There are two graphics modes available. Sports mode has templates for a variety of sports, allowing the user to update scores. In broadcast mode, meanwhile, the camera produces a lower-third type graphic.

At the other end of the signal chain, the manufacturer has focused on resolution with a range of monitoring solutions.

The DT-U28 is a 28-inch UHD studio model, while the larger DT-U31 31-inch model features full 4K resolution. Both models feature 10-bit panels and 12bit colour processing and can support 12G SDI – or four times 3G HD-SDI – along with HDMI 2.0 with HDCP 2.2 for 4K support. The DT-U28 and DT-U31 monitors both support HDR functions, with Hybrid Log Gamma 3D LUTs. There is a waveform monitor

and vectorscope, together with 16-channel audio metering, plus the monitors can support Display port for graphics devices. They are TSL RS-485 UMD compatible, also working with other standard control tools, and can be remote controlled via IP.

Stepping down in resolution, the manufacturer has also launched a four-member range of HD monitors. The DT-G Series ranges from 17 to 27 inches and features 8-bit panels and 12-bit colour processing. The monitors have 3G HD-SDI connections with loop, plus HDMI 2.0, and support a wide range of video signals, including 4K scaling. Professional features include waveform monitor, vectorscope, histogram and 16-channel audio metering. There’s a 4K pixel-topixel zoom function, for any area of the screen, along with 3D LUT support and built-in calibration processing. Each member of the family can run on mains or battery power, and can be remotely controlled over IP.

www.pro.jvc.com

Finally, NewTek has also joined forces with Vizrt to create the NVG1, a real-time, 4K-capable 3D graphics system designed for integration with the NewTek IP Series and the TriCaster TC1 video production systems. NVG1 combines the NewTek 1RU server platform with NDI IP video connectivity and Viz Trio/Viz Engine software to provide

users with live graphics inside NewTek’s end-to-end IP-native in either single- or dual-channel

resolutions and frame rates up to 2160p60.

www.newtek.com

www.vizrt.com

CV-RCP-100

The GY-HM200ESB ENG camera

From small to big

TWO NEW laser phosphor projector models have joined Christie’s budgetconscious GS Series, bringing the technology to lower price points for rental, education and corporate applications. Both 630-GS Series models are rated for a brightness up to 6,750 ISO lumens with a 4,000,000:1 contrast ratio, while reportedly producing just 36dBA running noise. Both models are also capable of 24/7 operation and can be mounted in any orientation as a result of the laser light source.

The models differ largely in their output resolution, with the DWU630-GS offering WUXGA resolution (1920x1200) and the DHD630-GS the more traditional 1080p HD.

Both models are also compatible with the full range of GS Series

lens depending on the installation requirements.

Scaling things up to the big screen, Christie has also recently debuted the next generation of its ‘all-in-one’ direct-coupled RGB pure laser cinema projector. The CP4325-RGB reportedly provides a performance boost and the

Adam Hall gets SMART

elimination of consumables, while the manufacturer states that its all-inone form factor eliminates the need for sub-ambient cooling.

The unit offers a wide gamut exceeding DCI P3, is rated for an operational lifespan exceeding 30,000 hours and also integrates the manufacturer’s new CineLife Series 3 electronics and embedded cinema automation for playback, scheduling and content management, while also providing backwards compatibility with existing Series 2 IMB architectures.

www.christiedigital.com

An 8K system for 4K flexibility

THE SMART C LED multi-colour 1U rack light from Adam Hall features patented smart motion sensor technology and is equipped with 18 RGBW LEDs that are described as giving uniform illumination for the underlying rack modules over the entire rack width. According to the manufacturer, the integrated motion sensors provide users with intelligent and energy-saving rack lighting that is adaptable to their requirements.

The rack light features a timer control for the duration of illumination as well as an

adjustable dimmer level for when the unit is idle. The RGBW LEDs have been designed to offer

individual requirements or the surroundings. The colours red, green, blue, cool white and warm white are available. Users can store their favourite settings in the integrated memory function. The rack light comes in a black metal housing and is supplied with an AC power adapter (12V DC) with strain relief.

www.adamhall.com

Control from a new Vantage point

SONY HAS camera system with three 1.25It has been designed to offer x 4320) 120p capturing format offers footage suitable for High Dynamic Range (HDR) with S-Log3 and Hybrid Log Gamma (HLG) supporting ITU-R BT.2020 colour signals over SDI and supports UP connectivity. The UHC-8300 is able to outputs simultaneously, with varying colour spaces and OETF on each signal. The ability to cut

capturing live action. Accessories built for Sony’s HDC series and remote control panels, are also compatible with the UHC-

On the smaller end of the camera-spectrum, Sony has unveiled three new palm camcorders that all feature a 273-point phase-detection AF

capabilities: the XDCAM PXW-Z90, the NXCAM HXR-NX80 and the Handycam FDR-AX700. They are each designed to combine ‘a fast and reliable autofocus function adapted for shooting with a 1.0-type stacked Exmor RS CMOS image sensor’. An instant HDR

with HLG (Hybrid Log-Gamma), which the manufacturer states produces HDR content without the need for grading in postproduction. All three cameras also include an 2,359k dots) with touchscreen control on a 3.5-type large LCD screen (1,555k dots). An enhanced Bionz X image processing engine delivers full-pixel readout without pixel binning, while functionality such as S-Log3 and S-Gamut3 capabilities and Super Slow Motion recording up to 960fps feature alongside 29mm (35EQ) wideangle Zeiss Vario-Sonnar T* 12x optical zoom lens and 18x Clear Image Zoom.

Another new camera from the Japanese conglomerate is the RX0, described as ultra-compact, robust and waterproof with the image quality of the RX series. It features a 1.0-type stacked 15.3MP Exmor RS CMOS image sensor, a Zeiss

angle lens with a maximum shutter speed of up to 1/32,000s and the ability to shoot at up to 16fps, 40x Super Slow Motion recording,

clean HDMI output. Wired and wireless control is also offered for when the RX0 is used as part of a multi-camera setup.

pro.sony.com

IN AN effort to provide greater video capture using its Vantage robotic camera head, Vinten has While designed as a companion for control of third-party robotic devices and PTZ cameras. Vantage itself aims to provide broadcast-quality movement and control at the same price point as traditional PTZ camera heads, making it a more affordable solution for those with strict budgets. Compact and lightweight,

it also allows users to choose from their preferred camera and lens by supporting various manufacturers, such as Canon and Sony, in addition to full-servo and manual lens types.

In other news, Vinten has partnered with Tecnopoint to produce an advanced robotic camera dolly and track system that facilitates quick setup. Named Hexagon Tracks, the system runs with no cables outside of the track.

www.vinten.com

The DHD630-GS

The UHC-8300

The Vantage robotic camera head

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The Ed Sheeran show goes on

Resuming his world tour following injury, Ed Sheeran played two nights in Singapore, Thomas Mittelmann reports

AHEAD OF THE ASIAN LEG OF HIS ONGOING WORLD TOUR, Ed Sheeran suffered a bicycle accident that left him with a broken wrist, elbow and rib, and forced him to postpone gigs in Taipei, Osaka, Seoul, Tokyo and Hong Kong. He returned to the stage a month later for two sold-out nights at the 10,000-seat Singapore Indoor Stadium and his injuries didn’t hold him back from putting on a spectacle for the crowds, which had come from near and far to sing along with the Shape of You singer during the shows. The man and his guitar, his clever use of loop pedals and formidable video, lighting and sound technology operated by an accomplished crew made it an allround, audio-visual treat.

As was the case in cities around the world, all of the video equipment and the majority of the gear on stage, including in as part of the tour rider. The same was true of most of the control equipment.

Designed by Mark Cunniffe, the stage backdrop was formed of

video feed upwards and outwards in a crown formation. This design was to ensure that audience members on all sides of the arena had a clear view. Provided by Colonel Tom Touring from

solution feeding stunning visuals produced by Canadian from the UK. These visuals were provided from disguise (formerly d3) servers and combined with live images captured by various Video signals were also running through lighting director Matt Jones’ grandMA2 consoles, from which he controlled

can sometimes be a challenge, and then it’s all triggered by me. Other than that it’s all straightforward.’

across four trusses above the set, almost hidden from view until their light beams were visible. A further four Scenius Unico units were deployed on either side of the stage.

scaled-down version of the rig on the Asian leg of the tour,’

ColorStrobes across the front truss.’

its entirety was provided by The Show Company (ShowCo). member also provided all rigging. However, the company have a particular system at our shows, but that brand

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sound engineer, Chris Marsh, who also happens to be the production manager.

Among the available substitutions was Coda Audio, ShowCo’s house brand. ‘I’d never used, nor had even really heard, a Coda Audio system,’ Mr Marsh continues, ‘but when they asked if I would try it, my answer was yes, because all the others on offer were familiar to me as fairly average solutions. As none of them

It helped ShowCo’s cause that, over many years and many National Day Parade, the rental company has built a favourable reputation in the Lion City. ‘The local promoters for Ed’s show that these guys could do everything, and do it all very well.’

ShowCo therefore moved in with a system from its Coda Audio inventory, which James Yeung, from the manufacturer’s distributor for Malaysia and Singapore, ESi Audio Consultancy, two main hangs, each with 18 AiRay line array modules and

the subwoofers. The entire system was powered by Coda Audio’s ShowCo director Joseph Gan points to another advantage his company had in supplying the concerts at the Singapore Indoor Stadium. ‘Of course, we are very familiar with the venue,’ he says. ‘And after 11 years of working with Coda Audio systems, PAs struggle with weight constraints imposed by venues and limitations of how many speakers you can hang, we had a huge

along the front of the stage, with one per side positioned beside

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18 AiRay line array modules and eight SC2-F bass extension cabinets were flown each side

James Yeung, David Webster and Paul Ward

to suspend all eight hangs from the mother grid instead of going up under the roof, saving us both time and resources. We also so present.

reading them can give a preconception based on the data, and

www.coloneltomtouring.com

www.edsheeran.com

www.markcunniffe.com

www.show-company.com

Chris Marsh, sound engineer and production manager

The view from FOH

SCV-F subs in end-fire array, stage right

A farewell

optics to connect multiple digital mixers across the venue and its as another reserve.’

had only ever worked with analogue equipment, so we were wondering how well this would perform, and how reliable it

KING BHUMIBOL WAS THE ONLY KING MOST THAIS HAVE known, an icon of benevolence and peaceful progress with many wide-ranging talents. One year after the monarch’s passing, his ceremony according to ancient traditions.

from 25 to 29 October 2017 began early in the year, following a 100-day mourning period. The Thai government’s Fine Arts Department (FAD) took the lead in planning, design and construction of the cremation site, including the crematorium itself, all supplementary buildings and structures, and all royal and religious decorative elements.

The crematorium site was to span more than eight hectares –the equivalent of more than 10 football pitches. This was situated within Sanam Luang, a large open space used for many royal and state ceremonies located next to the Grand Palace in Bangkok. Sound reproduction for royal Thai ceremonies has long been taking ultimate responsibility, as he has for many other events in his 30-year

‘If visible at all, the sound equipment must perfectly blend in with the structures on site; everything must be heard everywhere all the time; and it must sound perfectly good.’

Indeed, the music and prayers were to play a valuable role in determining the order of ceremony in the absence of a programme of events, or a clear view for all spectators.

contract instead of appointing its long-standing contractor.

from tradition and introduced a different selection process. Bidders were given 30-minute, back-to-back windows to present solution, and we wanted the procedure to be as fair as possible,’ doors, then voted among ourselves for the best solution.’ Vision One was declared the winner. ‘This was a masterpiece Tanapat Mongkolkosol, Vision bidder, but we had put a lot of effort into coming up with the best-possible solution.’

Work began on 2 May by laying cables in the ground. Mr

recalls Mr Puytrakool. ‘All focus went into it; it was given all the attention and time it deserved and required. Our system

In addition to overcoming the client’s doubts, more hurdles plans for equipment with the actual conditions and needs due to the programme of the ceremony, for example how many mixing consoles to place where, we realised shortly after beginning work that the plan was not practical, and that we needed more gear,’ explains Mr Mongkolkosol. ‘So we had to bring in more.

in-a-lifetime opportunity for us and the nation, and there was no question that we would do whatever it took to make the system work the best way possible.’

speaker models capable of meeting the specs,’ continues Mr Mongkolkosol, ‘many of which they found unacceptable from their appearance. Thankfully, we have solutions in our portfolio that not only perform but also blend into the environment very well.’ The most important and visible structure was the Phra a sacred mountain in Buddhist cosmology, this golden structure

When Thailand’s King Bhumibol Adulyadej passed away in October 2016 after reigning for more than 70 years, the nation lost a loved leader. Thomas Mittelmann reports from the king’s cremation grounds

Mr Paraupamacharoen and Mr Juntasri of PRD flanking Vision One’s Mr Puytrakool

Electro-Voice ZX5-90 PIs on stands positioned around the site

Groundwork began with cable laying in May 2017

Gold-plated K-array KV52XGs installed in the Royal Crematorium

was heavily decorated with animals and mythical creatures and had nine spires, the tallest of which – at more than 50m –housed the cremation pyre itself.

As very few people set foot in it, high-output audio wasn’t required here, so Vision One installed 16 gold-plated K-array

worldwide to use gold-plated K-array speakers, and also happy they were available because they are almost invisible in their surroundings,’ says Mr Puytrakool.

The designer and architect of the crematorium, FAD’s Teerachat Veerayuttanond, agrees. ‘In such environments, we do if possible,’ he says. ‘These gold-plated units, however, are an acceptable solution thanks to the matching of the surrounding

were able to prevent potential problems.’

On three sides of the crematorium were several pavilions, at 155m long and over 40m wide, was the Royal Merit-Making Pavilion. The throne of the new King Maha Vajiralongkorn was located here and, during the cremation, it offered seating for 3,000 members of the Thai and other royal families, domestic accommodated monks whose prayers were picked up by Above the high windows stretching the length of the building,

enclosures. ‘These speakers are small, sound good and do not compete with the room’s décor,’ says Mr Mongkolkosol. A further

Outside, at columns supporting the roof of the Royal MeritMaking Pavilion, as well as on walls of other pavilions facing the crematorium, a total of 16 K-array KK102i W 100cm variable beam line array elements were installed to cover the area. Puytrakool. ‘They were instantly accepted by the PRD and FAD; they are weather-resistant, have the right dispersion and reproduce the source sounds satisfactorily.’

‘Whenever we were getting ready for a few more hours of tweaking and tuning the system, the kind gentlemen of the PRD were signalling that they were already happy as it was,’ added spending all this time together on site, it was a more than content client–supplier relationship, and greatly cooperative.’

To provide audio for the large open space where marching bands and other troops would appear and perform, as well as around the outer perimeter of the site, Vision One positioned

for long throw.

Sound also needed to be provided inside the four Dismantling

as well as musical ensembles playing during the ceremony.

ceremony and was played live by ensembles around the clock during the ceremony days at different locations,’ reports Mr Mongkolkosol, ‘sometimes with Thai classical dance per formances and similarly with monks’ prayers.’

6.5-inch 2-way loudspeakers across the pavilions. Four of the pavilions served as stages for the musical ensembles, with the speakers serving as monitors for the musicians. These four stations to receive input signals from nearby sources, including the ensembles, marching bands, other gatherings and their commanders. Microphones and wireless RF systems were all Sennheiser, summed up in compact Roland M-300 or M-200I control room.

In the main control room inside the Royal Merit-Making Pavilion, broadcast feeds.

The 30-member Vision One crew was onsite almost continually during system setup and commissioning, weekly rehearsals that ceremony. ‘It’s been an honour to do this work,’ says Mr Puytrakool ‘There were several touching, even sad moments, and most of us shed tears every now and then, but we’re thankful and proud to have been part of it.’

PRD’s Mr Juntasri. ‘Their team was knowledgeable and supportive, reliable and attentive to detail; a pleasure to work with.’

ceremony. Two days later, the entire site apart from the Royal

was set to be dismantled in January 2018.

in place. ‘It’s there for announcements and perhaps background music,’ says Mr Mongkolkosol. ‘After dismantling the site, it will be installed in other royal, state or religious venues. So it won’t be wasted but will keep on doing good service.’

And this repurposing of equipment for future events is one of many ways in which King Bhumibol’s legacy will live on in the countr y that cherished him as their leader for seven decades.

www.finearts.go.th

www.prd.go.th

www.visionone.co.th

Sennheiser ME67 shotgun mics were positioned in front of the marching bands

Some of the 54 L-Acoustics 5XTs in the Royal Merit-Making Pavilion

Mr Paraupamacharoen, Mr Mongkolkosol, Mr Juntasri and Mr Puytrakool in the Royal Merit-Making Pavilion

Sennheiser ME34/MZH3072 microphones to pick up the monks’ prayers

Power to the people

Su visits

CONSTRUCTED SHORTLY AFTER THE CHINESE COMMUNIST Revolution, the Chongqing People’s Auditorium is a protected historical and cultural site that is revered as one of the city’s

– who has been working at the auditorium for more than 20 years – to directly compare different brands. After visiting similar venues around the country and a general assessment by the reinforcement system based around L-Acoustics speakers and DiGiCo digital consoles provided by Rightway Audio Consultants. ‘Generally speaking, we thought the combination of L-Acoustics and DiGiCo was the most suitable for the auditorium,’ continues Mr Wang. ‘As an important venue for political conferences, real-time redundancy was the main purpose of this renovation. While most other brands only have 1-way input signals, both analogue and AES. If there is something wrong with the digital signal, the system will automatically or manually be switched to analogue, and the two DiGiCo consoles act as a mirror system, The auditorium is a circular building incorporating architectural features from the Ming and Qing dynasties. It , and the circular domed auditorium

Flexi Input Channels

A Chongqing auditorium has been given a new lease of life by an L’Acoustics/DiGiCosystem from Rightway Audio Consultants. Sue

The iconic building commands a heritage status

is 55m high with an internal diameter of 46m. The auditorium seating capacity of 3,488. The main system consists of L-R hangs of 12 L-Acoustics Kara i white L-Acoustics X12 speakers are each installed for left and while a single white X12 is installed on each side of the second, third and fourth balconies. Six further X12s are also installed Finally, a VIP area backstage has been installed with a public address system comprising eight L-Acoustics 5XT coaxial enclosures. The entire system was designed by Rightway Audio Backup for the system was crucial. Two control rooms are located on the second and third balcony, with the secondstage. Three XTA DS8000 mic/line distribution systems and two Klark Teknik DN1248 mic splitters make up a 48-channel audio splitter system, feeding the audio signal into two

SD8 consoles located in the third-balcony control room. This control room is mainly used to handle signals from a Shure system consisting of three XTA DS8000s, and routed to two main and backup consoles that form a mirror system. The main console outputs AES digital while the backup console outputs an analogue signal to four L-Acoustics LA4X and nine LA8

‘We took many things into consideration for the system, for example adding audio splitters to allow signals to be sent to the

complete mirrored backup system. If any problems occur with the main console, we can switch to the backup console immediately, which guarantees the system’s reliability.’

system is also equipped with UPS systems that allow it to work for Other than conferences, the auditorium often has different

L-Acoustics speakers are more like monitors in recording where the sound had more enhancement or power, but it

wasn’t the true sound. With L-Acoustics, I can adjust the sound system was used for a group from Beijing to create the dynamics and excitement required by an electro-acoustic band.

of the steel support to make sure it not only looked elegant but was also secure enough to hang the speakers from. All the cables were assembled strictly according to the standard during the installation.

out preparation, and all were happy with the sound. The new guaranteeing the implementation of the conference’. has become something of a showcase locally. Staff from similar learn from the installation. ‘From what I know, the system is

www.digico.biz

www.l-acoustics.com

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L-Acoustics X12 stage monitors and front fills

L-Acoustics’ Khiew Chung Wah; Wang Zongjie from the Chongqing People’s Auditorium Management office; Xuanyuan Shisong, Rightway Audio Consultants; and Xi Zhanchuan from Chongqing Baozhuo Science

University challenge

Yamaha’s AFC3 technology has transformed the acoustics of the auditorium in Singapore’s Nanyang Technological University. Caroline Moss visits

NANYANG TECHNOLOGICAL UNIVERSITY (NTU) DESCRIBES

the Nanyang Auditorium, which lies at the very heart of its campus, as its pride and joy. The 12,123m2 venue can accommodate 1,729 people: 1,193 in the stalls and 534 in the circle. While the auditorium was suitable for speech-related applications, it was less optimal for acoustic performances. The sound quality was also being experienced unevenly throughout the auditorium.

Performers had to hear each other across the stage, while increased sound propagation from the stage towards the audience was necessary. Finally, an even acoustic and aural experience needed to be provided for the entire audience.

Yamaha Music (Asia) proposed its AFC3 Active Field Control technology, an acoustic conditioning system designed to adjust and enhance the architectural acoustic characteristics of facilities such as performance venues, houses of worship, theatres and concert halls using electro-acoustic equipment, at the same time maintaining the natural sonic characteristics of the space. The system uses a hybrid modular regenerative technique that interacts with the venue’s existing acoustic behaviour. AFC3 comprises a redundant, autonomous Dantenetworked infrastructure, one or more DSP units, one or more and microphones. Once installed, reverberation changes can be made at the push of a button, allowing the performance environment to be adjusted almost instantly while delivering consistent sound to performers and audience members alike. Some examples of where AFC3 can be used effectively is for holding classical concerts in a large hall without a sound reinforcement system, to accommodate an organ in a small church or to enhance crowd response in a stadium.

AFC was introduced in 1985, with AFC3 representing its third generation from 2012. The NTU’s system – which is driven by channel count after a 211-channel installation at the Tokyo International Forum and a 182-channel installation in Warsaw, Poland. It is also the largest to date in South East Asia, though Yamaha Music (Asia) has installed three previous AFC systems in Singapore.

‘Because the technology has evolved through AFC1, 2 and 3, there’s been a lot of improvement,’ claims Lawrence Tan,

assistant general manager, Yamaha Music (Asia). ‘The stability of the system is really good. When reverberation is introduced with microphones, it’s going to create feedback loops, so stability is critical. We don’t need to use a lot of mics with our system.’

Together with a hybrid AFC3 system, Yamaha also proposed a Wenger Forte acoustic shell tower at the sides and rear of the stage for acoustical diffusion support. Sound reinforcement in the auditorium was being provided by a Nexo Geo D line array system installed in 2010 that was still operating well, so Yamaha – which distributes Nexo in Singapore – offered the venue the service of retuning the system within the new acoustic implemented in conjunction with Nexo loudspeakers.

The project was put out to tender, with Pave System winning the contract for the entire integration, including supply and installation. ‘We worked hand in hand with Pave, guiding the team through the AFC system and how to implement it,’ continues Yamaha Music (Asia)’s Joseph Foo, who worked closely with Pave as well as Yamaha’s Japanese engineers and acoustic consultant Alpha Acoustics to implement the audio design.

to dampen the auditorium’s reverberation time down from 1.5s to 1s, reintroducing reverb back via AFC3. The second comprise the AFC system. This would provide the auditorium

Shinichi Sahara, Yamaha Corp; Joseph Foo, Kheng Ying and Lou Garcia, Yamaha Music (Asia); Takayuki Watanabe and Dai Hashimoto, Yamaha Corp; and Aloysius Tang, Yamaha Music (Asia)

improve the spatial qualities of the balcony and an electronic shell to provide acoustic support for musicians on stage. When installed, AFC3 would be able to provide variable settings for different performances while preserving the auditorium’s natural end-user control in a cost-effective solution.

A total of 46 Yamaha VXC6W 6.5-inch and 42 Yamaha VXC8W 8-inch ceiling speakers have been installed for the main house, with a further 18 Yamaha VXC6Ws and 10 VXS5W 5.25-inch surface mount speakers covering the upper balcony, and another 46 VXC6Ws and 12 VXS5Ws for under balcony. Altogether, this constitutes the audience reverberation system. Eight Nexo PS8 speakers and four Nexo LS18 subs act as the on stage. Additionally, 22 of Nexo’s recently introduced ID24i installation speakers on stage comprise an electronic stage system.

delay and processing settings through the entire system. This

Dante network card.

processing functions form the heart of the system, signal-routed through Dante network cards, with two Yamaha ICP1 intelligent control panels, Crestron Wi-Fi remote control, and Audix and Audio-Technica microphones.

‘Each channel has a different performance within the space, and we are able to create a very stable loop between the system

As part of the renovations, a new front-of-house position has been created in the centre of the auditorium, which will

sometimes be used instead of the glass-fronted control room on system is currently being used in the auditorium.

The stage has been installed with a Wenger shell, which can needed because the stage area is big with lots of height,’ says travel all the way up and disappear, so this will contain and ID24i speakers and PS8s will form an electronic shell to provide Pave System was given a very tight window in which to complete system integration during the university’s summer contractors to come in and complete the installation so the auditorium was ready for the National Institute of Education’s Teacher’s Investiture ceremony in early July and NTU’s Convocation ceremony later that month,’ says Pave System’s that the installation had gone well. ‘We had ample time to plan, which was vital as we were responsible for ensuring all the different services were brought in at the right time.’

This included coordinating the spraying of acoustic treatment, installation and cable work. ‘We had to section off the

auditorium, so if someone was spraying the upper level, the others would work on the lower part, then they would switch,’ were about 20 of us from Pave involved. With the other services, this went up to as many as 30 to 40 workers at one time.’

An important part of Pave’s work was to reinforce part of the false ceiling before the ceiling speakers were installed. This in another consultant to test the acoustics of the place before we started work, doing measurements and carrying out

Once the AFC3 system had been installed, engineers from Yamaha in Japan arrived to tune the system, which took a travelled over from France.

The Nanyang Auditorium has been transformed by AFC3, which will increase the types of events it can handle, giving more scope for musical performances in particular. ‘The auditorium is intended to be very multi-functional, and this will give it performances such as orchestras, piano recitals and choirs. Any line array system, and AFC3 will be switched off.’

The technology will also be used to improve acoustics for educational seminars and lectures held in the auditorium. ‘Our technology enhances the natural sound of multi-purpose halls such as this one,’ says Chihaya ‘Chick’ Hirai, director, ASEAN

as per the application; for example, speeches need no reverb whereas classical music does. This is why AFC3 is particularly good for multi-purpose halls of this nature.’

And where better to put the technology into action than one of Singapore’s leading auditoria.

www.nexo-sa.com

www.pave.com.sg

www.yamahaproaudio.com

The Wenger shell in use

Lou Garcia and Kheng Ying, Yamaha Music (Asia); François Deffarges (Nexo); Aloysius Tang, Yamaha Music (Asia); Dai Hashimoto and Takayuki Watanabe, Yamaha Corp

Balcony system

Connected hospitality

THE ANNOUNCEMENT BY SINGAPOREAN PROPERTY developer Oxley Holdings that it would be appointing Accor to operate two new adjacent hotels marked its maiden venture into the hospitality business. Located at the site of the former Pines Country Club, Novotel Singapore On Stevens and Mercure Singapore On Stevens combine to offer 772 rooms, a 528-capacity ballroom, meeting facilities, food and beverage close to the CBD at Orchard, the four-star properties are maximising their appeal to businesses and tourists alike.

Oxley Holdings took no risks when appointing a roll call of seasoned veterans to assemble its dual properties. This included DP Architects and general contractor Evan Lim. Fully understanding the vital role that A/V plays in securing events ranging from huddle room business meetings to lavish weddings and corporate events, Oxley played it safe by insisting on the expertise of Electro-Acoustic Systems (EAS). Boasting an exhaustive lineup of hotels over 35 years, EAS worked closely with Acviron Acoustics Consultants to fully equip the hotel’s ballroom, meeting and events facilities, F&B outlets, suites and gymnasium with A/V and digital signage systems designed to enhance and stimulate any gathering.

As is the case with most modern-day hotels, when it comes to events the Novotel’s Polaris ballroom the jewel in its crown. Measuring 450m2, Polaris can be subdivided into three separate rooms by two partition walls for smaller events. Versatility is key, allowing it to be quickly changed from a

or taken from storage, the room’s lighting, DSP settings and video projections can be instantly deployed from individual Apple iPad or Crestron 8.4-inch wireless touchscreens. A Crestron AV3 processor lies at the core of these operations, enabling Gigabit Ethernet connectivity of all the IP-controllable devices within the network.

The audio network is further enhanced with Dante connectivity courtesy of a Cisco SG200-18 Dante Ethernet

Switch, while the DSP settings for the individual and combined

each individual 6m-high room in addition to a TF5 48-channel digital console that is used when Polaris is being maximised without partitions. Whether for speeches or music, events can utilise a combination of Sennheiser ew335 handheld and ew312 clip-on microphones, together with e835 cardioid and e935 dynamic models over 12 channels of e300 wireless receivers.

Higher SPL audio output in all three rooms is entrusted to individual L-R Renkus-Heinz IC Live FR column speakers that have been discretely integrated into the front wall panels. The

transducers and three 1-inch compression drivers to provide effective beam control down to 800Hz. For those events requiring lower SPLs, a ceiling speaker solution consisting of six Tannoy CVS8 8-inch coaxial models powered by a Lab.gruppen

entertainers can monitor their performances on Renkus-Heinz

New twin hotels in Singapore are fully equipped to provide the best A/V hospitality facilities available. Richard Lawn checks into Novotel and Mercure

Yamaha MG10XU analogue mixers provide individual audio control in each ballroom division

Renkus-Heinz IC Live FR column speakers are discretely located in wall panels

The Milky Way corridor

The visuals for corporate events and weddings can be streamed from a computer via seven Kramer VGA wall panels that are also equipped with audio and HDMI inputs. A Datavideo SE-2800 effects matrix switcher receives various signals from the wall panels in addition to the Panasonic AW-HE130 HD camera images or Blu-ray videos. The resultant image is output to a Remaco TEN (XXL) 4.5m x 2.8m motorised screen from a Panasonic PT-DZ870 8500-ANSI lumens projector. A Crestron DM-MD 16x16 media display switcher ensures that the HDMI signals can be distributed throughout the ballroom.

In addition to ETC lighting dimmers, each Polaris section has been installed with four Leviton retractable lighting bars hosting ETC Source Four 750W spots and fresnels. Three called upon for a more dazzling display. Lighting control settings have been entrusted to an ETC ION 1024 console located with the other A/V control systems in a back-of-house, upper-level room.

An elegantly decorated pre-function corridor aptly named the Milky Way separates the ballroom from six business rooms named Aquila, Cygnus, Draco, Hercules, Lyra and Orion. Varying between 21m2 and 53m2 in size, the individual rooms carry variable A/V inventories but are all Crestron-controlled from individual Apple iPad Air 5.7-inch touchscreens via CP3 processors. Like Polaris, computerised presentations can be conducted from podiums and displayed onto Remaco motorised screens by Panasonic 5000-ANSI lumens projectors via Kramer WP-5VH2 wall plates. Individual Key Digital KD 4x4 digital media presentation switchers ensure uninterrupted screen transitions during source selections in conjunction with HDBaseT over Cat-6 receivers. Once mixed through a Biamp Nexia SP processor, the audio signal is output to overhead Tannoy CVS6 ceiling speakers

Hercules rooms are further equipped with Sennheiser e835 microphones that wirelessly transmit to ew112 G3 receivers.

EAS has installed compatible Tannoy CVS6 speakers, into the Food Exchange and Ren Tapas restaurants, as well as bars and gymnasiums. An Apple iPod Touch source can be interfaced into any of these individual systems, although volume and source selection is operated from a Biamp Vol/ Select 8 wall panel. Workouts in the gym are enhanced by the provision of Tannoy CMS801BM subwoofers.

The BGM and digital signage systems for both hotels operate over Cisco SG200-18 and SG-300 Ethernet network switches, respectively. For the BGM, a Biamp TesiraForté AVB DSP matrix processor is connected via Cat-6e cabling to an Acer Veriton 8-channel server interfaced to Kramer 712N receivers. Twenty-four Brightsign HD222 players feed their content from a PC to the various 22-, 40-, 55-, 65- and 75-inch Samsung LED screens, ensuring that the meeting rooms and ballroom correctly display the user host in operation.

EAS’ residency on site commenced in November 2016 when the various audio, video and Cat-6e cabling infrastructure was routed through a labyrinth of conduits. ‘As ever, it was a tight timeframe as we neared commissioning on 10 August with project manager, Chester Tan. ‘Despite some delays, however, we weren’t hindered in the execution of any of our plans. Both the electrical and general contractor made all the provisions we had highlighted so that we could accurately install all the audio and video components.’

Having completed almost a full year on site, EAS has maintained its exemplary trademark works within the A/V systems should allow both hotels to successfully market facilities at a four-star cost.

www.easpl.com.sg

www.mercure-singapore-stevens.com

www.novotel-singapore-stevens.com

Suspended crystals in the reception area detract from the Tannoy CVS8 ceiling speakers

Lab.gruppen E-series amplifiers power the Tannoy ceiling speakers throughout

CM1008D ROCK20

Versatile teaching

Emmanuel Christian School needed a multi-purpose A/V solution for its new hall. Richard Lawn visits the Tasmanian school

BUILT IN THE LATE 1980s, THE EMMANUEL CHRISTIAN School on Hobart’s Eastern Shore teaches local children from kindergarten to Year 10. The Rokeby school recently opened a new hall for holding assemblies and larger classes together with school music and drama productions. In addition, Eastern Shore’s Grace Church utilises the venue for its Sunday services. Given the multi-purpose nature of the venue, local systems integrator GK Productions was called in to design and install audio, video and lighting technology that would enhance the venue’s performance capabilities. Owner Gareth Kays was initially engaged to install the cabling infrastructure and the lighting bars on behalf of the general building contractor as a nominated subcontractor. ‘Through a separate contract with the school, we had our complete system design approved for the foyer, studio, practice rooms, recording studio and the 301-seat auditorium,’ he explains.

loudspeaker system combines three EVH-1152D/99 cabinets with dual EVF-2151D subwoofers in an L-C-R ceiling-suspended with them from previous installations,’ he continues. ‘The cabinets’ 90°x90° dispersion characteristics provide excellent intelligibility and sonic quality from the front to the back of the auditorium with a single enclosure. In addition, the horn-loaded pattern control assists feedback rejection and is advantageous for a room that could have turned out to be a reverberant space.’

and stored within the EV Netmax N8000 system controller together with DSP settings such as EQ, crossover, gain and delays. The DSP parameters can be remotely accessed and managed via IP network connectivity. Evid C4.2 and C10.1 ceiling speakers serve the foyer, Bosch BCS-CS830W ceiling speakers cover backstage areas operating in 100V line mode and a pair of Electro-Voice ZX3 speakers handle the studio, all

powered by a single EV CPS 4.10. Here, a Bosch PLM-8M8 Plena DSP matrix provides local source and level management from an iPad touchscreen. The church also uses six EV ZLX-powered speakers as monitors for its Sunday services by simply patching

Front of house and monitoring mixes are conducted from a Midas M32 32-channel control surface located at the rear centre of the retractable seats. It receives audio signals through a pair of Sennheiser ew 100 wireless systems with e 865 handheld mic capsules from two back-of-house DL16 digital multicore interfaces. ‘The Midas console was an easy choice for a number of reasons, including the unique Midas sound,’ furthers Mr Kays. ‘We run a pair of M32 consoles in our own production department and we’ve been very impressed with their reliability and ease of use for such a compact console. The church that moved into the venue was also familiar with its close cousin, the Behringer X32, so it was a seamless transition for them.’

‘Ease of use’ may be an all-too-familiar request from the end user, but it’s a fact that complex technology cannot sell in educational, worship and hospitality environments. Likewise, the lighting has been designed so a Year 10 student is capable of operating the intuitive features. An LSC Clarity LX300 console promotes the possibilities of multimedia

The left-hand EVH-1152D/99 cabinet and EVF-2151D subwoofer array

GK Productions’ owner Gareth Kays outside Emmanuel Christian School

The M32 provides FOH and monitor mix

The back-of-house equipment racks and patch bay connections

No stone unturned

Stonewater’s PD-engineered cabinets have found a new place to Unwind in Pune, discovers Simon Luckhurst

SET

ACROSS 1,300M2 OF SPACE IN KOREGAON

PARK, Unwind is one of the biggest new additions to the nightlife scene in Pune. Inviting guests from all walks to escape from the hassles of daily life, the venue offers three very different ways to unwind: partying the night away in the indoor nightclub, enjoying an open-air concert in the live music area or sipping cocktails at the rooftop bistro. Furthermore, the venue is also serving as a new reference project for Indian loudspeaker manufacturer, Stonewater. In early 2017, the company launched two new loudspeaker series, Balance entirely designed and developed in the UK with British-made transducer components.

Stonewater was already well known for its installation work, having secured contracts in the past in India with international outlets such as Starbucks, Burger King and Domino’s. But having partnered with Precision Devices to manufacturer its own line of PD-engineered loudspeakers last series with Unwind.

Club owner Chetan Naik had a clear vision in mind for how he wanted the new venue to sound, with each area providing contrasting offerings. The internal space was destined to become a nightclub with an emphasis placed on top-quality audio; outside would be a live music venue with more space and freedom to move around; and the bistro terrace would be a chillout zone providing a laid-back atmosphere. Despite strong competition, the contract was awarded to Stonewater following extensive listening tests with the owner. Stonewater’s director of marketing, Vikram Shetty, then approached consultant Milind Raorane to aid in execution,

admitting that the pair share a mindset and belief in creating a fresh aural experience in every assignment or project that comes their way.

‘My interaction with Milind started at a very early stage in the evolution of Stonewater,’ say Mr Shetty. ‘I quickly realised that of loudspeakers, and an intuition for acoustic spaces and the interactions between the room and speakers. Combining these skills with our high-performance products gives us a serious edge over our competitors. The club regularly hosts some of the best domestic and international DJs. Great DJs and a very well-designed audio solution are the most important elements for the success of a club like this.’

‘The competition was stiff and we really had to make a difference,’ adds Mr Raorane. ‘That difference came in our thought process and our approach towards understanding both the electro and room acoustics. For me, the appeal of Stonewater is in the attention it gives to product design, sales and after-sales support. Its products can be compared to any A-list global loudspeaker brand. They offer high-grade components, build quality and intense product evaluation.’

As well as stiff competition from other brands, the project presented Mr Raorane with a number of acoustic challenges to overcome, as the indoor space forms a semi-pyramid shape that creates lots of additional ‘pockets’. This was remedied by using extensive acoustic modelling and treatment.

‘After internal discussions, we proposed an acoustic measurement of the indoor space, primarily checking the room for spectral RT60 reverberation time and standing waves,’ recalls the consultant. The client was present throughout this process, which Mr Raorane feels was

invaluable in helping convey the need for proper acoustic

and methodical approach ultimately convinced the client to The nightclub space was fully treated using bespoke foam wedge traps of three different sizes in order to address different bands in the frequency spectrum. The acoustic team’s focus then shifted to installing the cabling and

Operation in channel-rich 5GHz frequency l Interference-free in congested site environment l Wired-like wonderful audio quality with maximum clarity l Less than 23ms low latency l Up to 128 Beltpack connection per Base Station l Up to eleven(11) full-duplex audio channels l Up to five(5) group communication channels l Patent-base super-scalable IP based repeater solution l Hands-off like a butterfly & bee l No limitation on the number of Beltpack linkable per RBS25 l Compact Beltpack for high mobility l Compatibilities with other wired systems l AES 256bit level 3 encryption l Mobile Station in the line-up l LaON in-house solution including the wireless SoC and RF module built-in the systems l Easy wiring and installation l More with less cost-effective solution

Outside in the live arena

LT750 Expert system with 7.2KHz audio frequency response

mounting the speakers, with every step of the process periodically monitored and checked. The entire project was completed in just two-and-a-half months. ‘It was pretty fast track and decisions made along the way were done so quickly,’ recalls Mr Raorane.

and the other two at the rear of the room – provide enough low-end energy to keep guests partying until the early hours.

‘Due to the laws of electro-acoustics, any audio system

the optimum headroom for dynamics,’ explains Mr Raorane. sizes and using highly accurate placement.’

music and size of the audience. To ensure aural consistency

system formed from eight ceiling-mounted 8-inch STM008s experiencing fatigue-free listening for long hours inside the psyche, showing that they can certainly decipher the difference Likewise, the initial vision of Unwind’s Mr Naik appears to have venue’s main USP. ‘We are extremely pleased with the audio it doesn’t hurt our ears, even when playing really loud. We were also very impressed with the high degree of professionalism, team and Milind Raorane.’

the Indian pro audio market, projects such as Unwind are key to its continued success. ‘Every installation is important to us, managed process that ensures it is designed and executed to the highest quality and technical standards,’ says the

does not go unnoticed.’

components with a price point that suits the local region,

choice for several major companies in the entertainment and retail industry,’ concludes Mr Shetty. ‘We currently have multiple www.stonewaterindia.com

The view from the DJ booth

The relaxed lounge terrace

In perfect Synchronicity

Syn Tokyo works with its counterparts in Beijing and LA to create music for premium brands in bespoke environments. Richard Lawn visits the Japanese operation

PRIOR TO RESURFACING IN THE WORLDWIDE CHARTS with Ordinary World, Simon Le Bon took time out of his busy recording and touring schedule to join forces with producer/ songwriter Nick Wood and establish a boutique music house. The year was 1991 and, over the 27 years that have followed, Syn Tokyo has steadily gone on to become a global name amongst top brands and media. In recent years, Syn operations have established themselves in both Beijing and Los Angeles, with further locations to be unveiled in due course. And the 2017 Emmy awarded for creating CNN’s ‘Why We Go’ commercial highlighted Syn’s expertise in delivering award-winning productions within the narrowest of deadlines.

Rather than marketing Syn to musicians wishing to mirror the Duran Duran singer’s career, the music production house has directed its attention towards creating content for luxury brands. philosophy of sound by enhancing commercials, promotions and trailers targeted for select clientele in bespoke environments. on perception and behaviour, Syn has successfully penetrated the retail and hospitality sectors. The company’s insistence that the sonic environment contributes as much to the atmosphere identities. An impressive roll call includes the premium drinks brands Hennessy and Moët et Chandon, together with the Mandarin, Ritz-Carlton and Shangri-La hotel chains. The knack of matching brands with sound when tailoring musical backdrops to the uniqueness of each space and client is undoubtedly a new art form.

All three studios work independently, but major projects requiring collaboration are fed through the Tokyo brain where Mr Wood takes the role of executive producer. ‘Both Beijing and LA send their data over to Tokyo, where we handle the main mix and master,’ explains production manager, Justin Frieden. Heralding from Los Angeles, Mr Frieden is a classically trained composer who worked at a Hollywood studio before

returning to Tokyo, having studied Japanese several years prior to that. ‘We operate remotely, usually via Source Connect and/or Skype, so it’s rare that we physically have to go on site. Streamed HD video content incorporating high-quality MP3 320kHz sample rate audio is then evaluated in real-time.’ Although the three locations don’t mirror one another in terms of equipment, they all share the same Pro Tools | HDX digital into Pro Tools, whereupon the producers then operate in either Logic or Ableton. A Neve Genesys 32-channel console is at their disposal for larger projects, adding warmth and character

a vast collection of plug-ins and analogue outboard effects, while an Antelope master clock keeps everything ticking over in perfect sync. ‘Nick loves vintage microphones such as Telefunkens and classic Neumann models including the U47, U48 and U69,’ explains Mr Frieden. ‘We also have an iconic Fairchild 670 dynamic processor and a Tube Tech CL1a compressor amongst others in the rack should we need that extra edge.’

As with most of the projects at Syn, ‘Why We Go’ was spread between their studios in LA and Tokyo, including a recording session with a 40-piece orchestra in Macedonia. The recording location was not accidental, but an intentional search for

as the refugees featured in the spot were all trying to get to Macedonia,’ he continues. ‘We were requested to create hopeful, inspiring, emotional strings and piano that would the production was enhanced as the arranger Todd Hayen was located in Toronto, ensuring the composition had to traverse between LA, Toronto and Tokyo.’

The Syn team in Tokyo communicated with the orchestra conductor in Macedonia and the producers in LA on an open channel during the production of ‘Why We Go’. ‘By utilising our contemporary technology, we could communicate simultaneously across time zones that were seven hours ahead of and seven hours behind Tokyo,’ explains Syn’s LAbased producer for the project, Seiya Matsumiya. ‘We’d never tried anything like this before, so we were naturally a little

A Neve Genesys console lies at the heart of the Syn Tokyo studio

The Syn Tokyo vocal booth

The CNN ‘Why We Go’ production included a 40-piece orchestra recording session in Macedonia

Executive producer Nick Wood oversees the CNN ‘Why We Go’ production

Extensive vintage outboard equipment includes a Fairchild Model 670 processor

nervous beforehand that the wrong data could be sent. You can make all the preparations in advance but, until the session starts, you just don’t know what may happen. When we heard the audio coming through, it sounded like the orchestra was in the studio next door.’

After the session had been completed in Macedonia, all the data was sent to Syn’s main studio in Tokyo for mixing. Although Syn Tokyo has several brands of monitors at its disposal, including Adam models, they selected Amphion One18 speakers for the CNN project. ‘The One18 monitors made the process of mixing and balancing the whole orchestra much easier,’ explains Mr Frieden. ‘We recorded overnight and mixed all day the next day, and the clearness of the Amphion monitors was much appreciated. The clarity they provided was a help in rebuilding the orchestra in our studio. All the frequencies were present and mixing the strings on the One18s was simpler than we thought it would be. Finding the right balance and panning everything didn’t suffer from fatigue.’

The Amphion One18 studio monitors and Amp500 stereo amps have become an integral part of the Syn Tokyo setup in the main studio, where projects are mixed and mastered. This studio is also often used for narration recording and ADR. ‘The Amphion One18’s clarity is really helpful, as it is easy to see exactly where the voice is sonically, against all other sound elements,’ says Mr Frieden. ‘We strive to create a mix that displays good translation, but it’s getting harder to achieve as an increasing number of viewers are tuning into YouTube on their tablets and phones. That’s why the mid-range is so important, but the timing and

tend to create more commercials than anything else, but no two weeks are the same. TV shows, video games and signature TV tunes often require a rapid turnaround as the soundtrack is the last thing the producer considers.’

are a staple diet for Syn. ‘A concept idea can often begin with nothing, although it usually starts with a storyboard, photo or video,’ he continues. ‘Once it has taken shape visually, it will

then evolve, during which time numerous changes are made. Agencies are always changing their minds, which we’re used to, but it does make our work a lot more challenging.

‘Music is often an afterthought that the client is usually happy for us to take ownership of. You’ll get a brief sometimes that they want hip hop or a heavy-metal soundtrack with a or references. However, once we have added a jazz texture, for example, we then may have to change this to techno and back to jazz. It can be extremely intense working within a fast-paced, dynamic production. We know most of our clients really well now and they trust us, so it becomes easier and second nature over time. The trick is to talk early during the design stage and understand what exactly the directors and producers want.’

While increasing its business, Syn has actually downsized in recent years in terms of property size. ‘This is Tokyo, and real-

‘Over the years, we have relied more on rapid internet speeds, bypassing the need for large studio spaces. However, when we need to record more complex music, we are located within 10 minutes of some great studios that are always available to hire. In Beijing, we use the Republic Recording House, whereas in LA one of our favourite spots is EastWest Studios. Outsourcing to professionals with their own facilities is common for everyone these days, and we’re no exception.’

Syn’s Tokyo operations tends to handle all the big accounts such as CNN and Mercedes-Benz, whereas smaller productions produced in Beijing are often streamed via Tokyo where a of the LA-based projects are even mixed in Tokyo. ‘Clients like as we share great equipment and producers,’ says Mr Frieden. ‘Sometimes, the producers in Beijing and LA like to pass the baton to the Tokyo engineers who have fresh eyes and ears to Operations between the three locations have become tighter over the past two years. ‘We have learned to communicate effectively over this period, having meetings with the producers in Beijing and LA every day. Nick and Simon founded Syn in 1991 around the idea of creative collaboration, which is taking place more than ever between the three studios and teams in Tokyo, Beijing and Los Angeles.’

Back in 1991, Syn took its name from a combination of the initials of its founders. However, that name has equally come to demonstrate the carefully orchestrated synchronicity behind the syn.world

Syn Los Angeles producer, Seiya Matsumiya with Syn Tokyo production manager, Justin Frieden

Syn Tokyo has an extensive inventory of vintage Telefunken and Neumann microphones

PT Series Audio Pass-Through I/O Panels are a perfect solution for anyone requiring front-of-rack access to their I/Os in any permanent or mobile studio environment. Two solutions available to meet your patching needs with either Male or Female XLR connections on the front and their pass-through

Channelling success

SINCE

TV BROADCASTING

STARTED IN INDIA IN 1965, IT has been revolutionising the country, sending programming into remote regions as it has morphed over the decades into the major industry it is today. Broadcasters were state-owned until 1991 when the government introduced new policies allowing private and foreign companies to enter the market, and today almost 1,000 channels are available across the country.

In 2007, Viacom 18, a 50/50 joint venture between American multinational media conglomerate Viacom and the Mumbaibased Network 18 group, joined the fray. The company was set up to house Viacom’s existing channels in India: MTV, VH1 and Nickelodeon, in addition to Network 18’s Bollywood movie business. Today, this offering also includes Comedy Central, Nickelodeon India and Colors, general entertainment channels that are broadcast in several regional languages.

In May 2017, Viacom 18 opened a new premises in Vile Parle, close to its existing building. Here, a new audio postproduction studio takes care of mixing down videos and radio spots purely for the purpose of marketing Viacom 18 channels. ‘We master promos into the right specs for our broadcasts and run quality checks on them,’ explains senior sound engineer, Pramod Srinivasan. ‘All of the content for the actual shows is outsourced to production houses, and we promote that content from here.’

The new room, formally known as Studio 2, also goes by an affectionate nickname. ‘We call the audio studio in the older building the bass, so this one is the treble,’ continues Mr Srinivasan. ‘In this particular studio, we’re mainly working with English entertainment, for which we have three channels:

working on channels from our youth cluster: MTV and a Hindi music channel, MTV Beats. These are the channels that are primarily handled out of Studio 2.’

The older Studio 1, which has also undergone a recent renovation, has a similar equipment setup, the main difference being that here, the console is a Yamaha DM1000 rather than the new Avid C|24 in Studio 2. Studio 1 handles what the company calls the kids’ cluster: Nickelodeon, Nick Junior and

Sonic Nickelodeon, as well as the Colors regional language channels. Both studios are installed with Neumann KH 120 powered monitors and a KH 810 subwoofer in a 5.1 setup, supplied by Sennheiser India distributor, Real Image.

‘Between the two studios, we are dealing with 16 channels

minutes walking distance from here. Myself and the other engineer work in both studios so there’s a bit of running back and forth. All our engineers are in house – we don’t have any freelancers working in postproduction. We are connected through a server so we can easily work on projects between the studios in Pro Tools. We have the C|24 here, they have the Yamaha DM1000 over there, that’s the only difference. Otherwise, we have the same monitors, both audio and visual. For TV broadcast, we need to be midrange-heavy. For us, the frequency spectrum, and represent good value for money.’

Apart from the two Mumbai postproduction studios and two others in the existing building, Viacom 18 facilities in Bangalore and Kolkata are also installed with the Neumann KH 120s; however, these are not yet equipped to handle surround sound. A facility at Bhubaneshwar is also equipped with Neumann

to the broadcaster. ‘We were all crowded into one building before,’ says Mr Srinivasan. ‘The C|24 has also made our lives easier. Our way of working now is very much in the box, and it’s good to be getting off the keyboard and onto a control surface where you can have complete hands-on control of the DAW. The new C|24 really gives us the feel of operating a console; it’s a more creative way of working.’

The C|24 was also supplied by Real Image, along with a Pro Tools HDX system, an Avid HD I/O 8x8x8 interface and a Digigrid DLS plug-in processing and networking hub running a selection of Waves Mercury plug-ins. The Digigrid DLS, which is also being used in other Viacom 18 facilities, consists of two DigiLink ports delivering up to 64 inputs and outputs, a built-in SoundGrid DSP server and a network switch, acting as a bridge for Pro Tools systems to run hundreds of SoundGrid-compatible plug-ins. To complete the studio, Real Image’s package also included Neumann U87 Ai, Neumann TLM 107, Sennheiser e835 and e845 microphones, Sennheiser headphones and a PreSonus HP-4 headphone distributor amp.

Although it was early days when PAVL Asia visited Viacom 18’s new studio, Mr Srinivasan was already noticing its

control rooms with dubbing and surround sound facilities, so we have double the capacity,’ he says. ‘This means there’s more time to give the producers, which is vital to our ongoing development as a fast-growing company with a bouquet that really does include everything, from kids through to general entertainment.’

www.realimage.com

www.sennheiser.com

Indian broadcaster Viacom 18 has expanded into new premises, providing an extra postproduction studio for its growing channel count. Caroline Moss tunes in

Viacom 18’s Pramod Srinivasan

Avid C | 24 and Neumann KH 120s

Sennheiser India’s Hrishikesh Pingle and Vipin Pungalia

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Brio is the most compact and affordable digital console in its class, 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.

Structurally sound

DPA MICROPHONES IS A COMPANY THAT MAKES NO apologies for its grand ambitions. In 2012, then CEO Christian Poulsen boldly exclaimed that the business was looking to become one of the top three microphone brands in the industry. Arguably, his goal has been met. The company has enjoyed tremendous success in the years since that statement was made, and has seen its name emerge as almost a benchmark of quality in the theatre world as well as being a preferred name for artists with an eye for quality. Nearly every one of its products since has been an award-winning model.

Fast forward to 2018 and the Danish manufacturer has a new and passionate CEO at the helm, but no sign of a slowdown in pace. It seems the next big target is already in sight.

Celebrating 25 years of business last year, DPA’s roots stretch back to when co-founders Morten Støve and Ole Brøsted Sørensen aimed to forge a new pro audio brand out of the Brüel & Kjær measurement microphone division. Interestingly, entered the picture.

‘The founders I know very well from my time at Brüel & Kjær; they were frequent visitors,’ recalls Mr Nielsen. ‘I joined B&K tough times and was trying to get back into smoother waters. I still talk to Ole and Morten occasionally, but they no longer have any business involvement in DPA.’

Following a decade-long stint at Brüel & Kjær, Mr Nielsen’s next mission was helping to turn around the ailing fortunes of Bang declining business. ‘The year I joined we lost a lot of money (0.5 billion DKK),’ he continues. ‘But we broadened the business into automotive, and we rejuvenated the home portion. In just three to four years, we managed to grow both our sales and our bottom line. When I found out about the position at DPA, I was managing a listed semiconductor business, but I was longing to return to the acoustical world that I’d been in for many years.’

If Mr Nielsen’s history is one of returning declining businesses back to their heyday, DPA customers are in safe hands. Since

in 2013, the company has been growing at a dizzying pace. The product catalogue has been streamlined, strategic launches have seen it enter new markets, while its headquarters in Alleroed and its workforce have both vastly expanded in size. There doesn’t appear to be a slowdown.

DPA,’ says the new CEO. ‘We’ve been growing fairly fast and we’re continuing to do so. Christian did a great job in bringing the company forward, from where it was to where he left it. But at some point, a company reaches a size where, if you continue adding more people without putting structures in place, then there is a risk of becoming ineffective. At the same time DPA has a very entrepreneurial spirit. It’s important that we try and better organise ourselves without losing that spirit. My role is to come

it clear that the key drivers in the business, the key technologies, the key sales people, the key marketers – the system is built for them to live out their passion.

‘When you take that approach, those key drivers embrace and support the structures that you put in place. The family spirit at DPA is immensely valuable in this respect. When people come here, this is something they sense immediately in everything: from how we interact, the way people talk and smile. We do try and make sure that there really is a spirit of people taking care of each other here and having a common mission – namely to make the world’s best microphones.’

Initially taken aback at the relative size and scale of the physical business in contrast to its reputation in the industry, Mr Nielsen says it was the impressive quality of the products that really stood out. ‘They had managed to develop some fantastic technology. I think they had also positioned the company well and had been extremely good at managing quality – both in terms of reliability and also functional quality. The feature set of the products has allowed DPA to become a leading top-end brand for this industry, in a niche position. It’s a very impressive achievement and puts you in a great position if you want to scale.’

microphones that combined the company’s technical audio experience with the miniaturisation skills of Muphone, the hearing aid company that DPA merged with in 2006. ‘Those two skill sets resulted in a miniature microphone that could, says Mr Nielsen. ‘And then when it was launched 10 years ago, d:vote, the instrument microphone, was new in terms of the fact that you could get such a high-quality sound out of such a small microphone, which enabled you to mount it directly on your instrument. This opened up lots of new possibilities for

DPA’s past success has often come from lending its detailed eye to new markets. The d:screet series of podium microphones and the d:facto vocal microphone, for example, allowed the company to bring refreshing new options to sectors it wasn’t very active in. If reorganisation is the main focus under the surface for Mr Nielsen, DPA also needs to make good on its next grand

From measurement microphones to the standard by which many microphones are measured, DPA has come a long way, discovers Simon Luckhurst

Kalle Nielsen wearing the d:fine

ambition of raising the quality bar for miniature microphones. In this respect, the business has also begun to diversify into more new sectors with products like d:vice, a high-quality smartphone audio interface that is also integrated into its latest miniature capsules. Both are intending to make good on this promise. ‘My mission is basically to help the business to mature a little bit by giving it a platform to grow, and exploring the next stages of growth,’ with d:vice we have made a product that is not directly a microphone. It’s not unlike the products that other people are making but it’s somewhat special because it’s of a very, very high quality. That’s part of the mission also, to work on making sure

direction. Inside the capsule of this takes a weak electrical signal and boosts it so that it can be fed into a beltpack or developed by DPA, which the company claims can reduce harmonic distortion at all levels and, at the same time, increase the dynamic range by 6dB to 14dB. continues Mr Nielsen. ‘You could say maintaining and innovating at the top end of the microphone scale. With possess a level of quality that makes it and larger microphones. It’s a totally new situation where you can start using miniature mics for all kinds of purposes where previously you’d have been limited to larger models. You can achieve incredible things once you’ve managed to get very high-quality sound out of these tiny microphones. The potential applications are huge.’

With Mr Nielsen at the helm to provide the necessary structure, DPA’s passion will surely keep on burning. ‘I think the biggest pressures are actually coming from ourselves in terms of whether we can live up to the standards we have set. We don’t give up until we believe the products are perfect. If we can continue making extremely good microphones.’ DPA has always been a small company with big ambitions. Perhaps the only difference now is that it’s not really that small anymore.

www.dpamicrophones.com

Skilled assembly on the factory floor

d:vice for the iPhone

A letter from America

Dan Daley discusses why there is no more hiding in the shadows for sonic auxiliaries

IT IS WIDELY RECOMMENDED THAT DINERS

avoid visiting the kitchen of a restaurant they plan to eat in. The same applies to live music shows: the audience has come to be look behind the proscenium curtains to see how the tour sausage is made. Too bad, since these days there’d be a lot to see.

Even the most compact of performing groups have deployed some rather substantial and sophisticated ancillary technology to boost what they can accomplish on stage, in the form of backing tracks, with the number of systems deployed an inverse ratio to the number of people on stage. (Yes, we’re talking about you, Ed Sheeran, and your pedals.) In the military, such systems are known as force multipliers; in music, they are either magical sprinkles or a boob job, depending upon your frame of reference.

The intensifying need to create the equivalent of a sophisticated recording session onstage has only accelerated the need for backing tracks that are both complex and agile (ie, can

the live mix. In purely industrial terms, backing tracks are a productivity multiplier, reducing the number of people needed for a production and, in the process, reducing the production’s overhead touring costs.

Not completely, though. As the tracks get deeper and precise synchronisation takes on greater importance in show production, prerecorded vocal, instrumental and effects audio and control require the services of more people, in the form of pre-programming before the fact, and during the live show. However, like every other complex proposition that digital and automated.

That’s behind the appearance in recent years of more sophisticated systems that accompany live shows; a kind of digital Fifth Beatle. One of those is Playback Control, a joint venture by equipment vendor Tour Supply and William ‘Viggy’ Vignola, a programming legend, system designer and drum tech for Mötley Crüe, Godsmack, Aerosmith and Sevendust, as well as a few less-loud artists including Gloria Estefan, Stevie Wonder, the

A letter from Europe

Phil Ward personnel as A/V giants shake up their business strategies

WHEN HARMAN SCRATCHES AN ITCH, IT

measures on the Richter scale. Across Europe from North London to Hungary, via Switzerland and Vienna, scores of Harman personnel have been reconsidering their options in the wake of some 650 job losses around the world and the wholesale relocation of several deeply rooted operations. The usual rationalisations have been put forward, involving streamlining, consolidation, integration and a dozen more euphemisms, and it’s impossible to counter them in the face of New Product Introduction teams and Centres of Competency that will no doubt do wonders for Harman’s bottom line. Change is always nerve-wracking. I’ve been subject to several management restructures, and more than one of them has left me failing to avoid the feeling of being handed the keys to the Titanic and asked to take it for a spin round Antarctica. The bigger the organisation,

the bigger the responsibility – and, on this scale, it’s just plain awe-inspiring. But ‘uprooted’ is the only word for various teams in Potters Bar, just north of London, and in Vienna, even if Studer’s erstwhile centre of gravity in Regensdorf, Switzerland, has retained an R&D function that hopefully provides more

former engineers have formed Austrian Audio, an instant competitor with many of the same ambitions; indeed, the start-up company is claiming credentials relating to all of the AKG products to emerge over the past 20 years or so.

Soundcraft seems to have had a slightly softer landing, with some of the team resurfacing in the City of London where AMX has some space, and others elsewhere in the capital. Here, the synergy implied by shared DSP with Studer,

rationale for moving all the manufacturing of both brands to a single plant in Pécs, Hungary,

Spice Girls, Hanson and Justin Timberlake. Mr Vignola had been one of a handful of boutique track-system builders and programmers –another is Mike McKnight, who has done systems for Shakira, Mariah Carey and Roger Waters. Mr Vignola began collaborating with Tour Supply about six years ago, synergising his programming chops with their marketing. About three years ago, that synergy reached a point where the track-playback systems could be productised, under the brand Playback Control, and, although they remain highly customised, the systems and the demand for them has reached a point where Tour Supply has opened a dedicated demo showroom for them within within its existing location at rehearsal hub Soundcheck in Nashville. There, Mr Vignola and Tour Supply technicians can assemble a bespoke and perfectly synchronised track-playback system, using Pro

system template that includes a pair of Apple 13-inch MacBook Pro computers, a Radial SW8 matrix switcher and multiple MOTU

playback interfaces with DP9 Software, all synched using SMPTE timecode.

A fully redundant Playback Control can cost about US$14,000, which includes the dual-redundant system (a single-computer system runs to about $10,000) and custom programming by Mr Vignola and his team. It takes about 18 man-hours to assemble a rig, with programming time on top of that. These are loaded into 5U Pelican cases to make them as light as possible, to avoid having to ship them as freight.

For much of the 1980s and 1990s, metal bands would hide keyboard players offstage, adding the synth sounds that radio at the time was demanding without fear of wussing out on their pubescent acolytes in the audience. Today, it’s understood that much of pop music support to make a live show as sonically intricate as a recording once was. Whether the sources of additional signal inputs are visible to the audience or not, that audience is nonetheless expecting the equivalent of a record on stage now.

already operated by Harman and staffed by 300 employees across 31,500m2. It’s where Martin lighting technology is built and, lucky old Hungarians, a brand-new drop-in demo centre is planned for next summer.

It’s an ill wind, though. Studer has already scored a heart-warming welcome home at the ‘new TVC’: a renovation and renaissance for the former BBC Television Centre in West London. Just when you thought the ghost rest, next to the tomb of Tiny Clanger, part of the redeveloped site has been returned to programme making, albeit on a purely commercial basis as ‘BBC Studioworks Facilities at Television Centre’. This coincides with a new distribution deal for Studer in the UK under the auspices of HHB Communications, one of the best-established resellers in Europe and a safe pair of hands for any Harman brand

Of the three new studios here, two have Studer Vista Xs and the other a Vista 5, all part of a seamlessly integrated Cat-5 landscape including the very modular new Glacier control surfaces, to be used for music and sound effects in almost any location. A comprehensive MADI network also renders the Glaciers effective redundancy modules. This is the kind of encouragement you need when the tectonic plates subduce. Harman’s new Centres of Competency are dedicated to acoustics in Northridge, California; electronics, DSP, video and control in Richardson, Texas; and lighting in Aarhus, Denmark. Where the new products are being dreamed up for everyone is in Shenzhen, China; Bangalore, India; and Budapest, Hungary. Boy, that is have abated and all the tumbled-down paper cups have been re-stacked next to the water cooler, breathe out slowly.

The new KH 80 DSP – Small. Clever. Neutral.

AES 2017

AES 2017, and its neighbour the NAB Show New York, drew adapting to the ever-changing needs of the audio industry?

IN THE CITY THAT NEVER SLEEPS, STAYING IN VOGUE

has long been a tradition of businesses and individuals.

Traversing from the West to the East Coast each year, the Audio Engineering Society (AES) convention has continually drawn bigger crowds and interest in New York than its counterparts in San Francisco and Los Angeles. The Jacob K Javits Center entices more than just the venue technicians and owners of is always a healthy amount of studio, postproduction and broadcasting engineers in addition to international dealers exhibition aisles.

This year’s theme, ‘Maximum Audio’, saw the show organisers bring together an enormous amount of informative and educational workshops, panels, papers, lectures, technical tours and technology under one glazed roof. Collaborative efforts with the NAMM show for January 2018 have been well publicised, but AES went further in New York by offering the independent NAB Show New York in an adjacent hall, with mutual access granted for all badge holders. It proved to be a masterstroke for both shows, promoting the cross-pollination of resources and ensuring greater appeal for exhibitors.

Focusrite’s Kurt Howell. ‘There’s been great interaction between the two and about 60 of those are serious buyers, but it’s a lot higher this year.’ Cadac’s sales and marketing manager, James Godbehear, agreed. ‘This is by far the busiest AES for us since

us to new people who want to learn more about mixing on our CDC six and CDC seven control surfaces.’

NAB Show New York is a greatly scaled-down version of its Las Vegas big brother. However, it manages to bring major brands such as Blackmagic Design, Panasonic and Sony broadcasters, dealers and production companies. Extron sales manager, Jason Bond, was premiering the latest SMP 351 to record and stream live presentations together with the newly launched HC 404 meeting space collaboration system. ‘It’s a regional two-day show and it’s focused,’ Mr Bond explained. ‘We exhibit our relevant technologies on a small stand and network with buyers.’ 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.’

Several companies had taken the decision to exhibit at both shows concurrently. So while the mc²96 and mc²36 mixing consoles and the Kick close-ball automation were

demonstrated on its AES stand, Lawo was showcasing its IP video infrastructure technologies and Ruby radio console on sales and marketing director, Andreas Hilmer. ‘If we only had a stand 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 ASL Intercom products and the Bolero platform at AES, while demonstrating the MediorNet Compact Pro and more video-centric products at NAB. While many exhibitors welcomed the move to collaborate at AES and NAB, Riedel’s Joe Commare was feeling weary having exhibited at WFX in Dallas the week before and preparing for SMPTE soon after. ‘It’s a high-cost venue with drayage fees here at the Javits,’ he pointed out, with reference to the extortionate fees that exhibitors incur for having their goods delivered to and from their stands. ‘I’m not sure that having two stands here pays off or not, although the visitor turnout seems good.’ Clear-Com also exhibited its FreeSpeak II, IV-Core technology and HelixNet platforms at both shows, while RTS decided to simply exhibit the new Roameo platform at NAB. Avid had certainly decided to target both shows in a unique fashion. The company’s NAB stand 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, HD Native and Sibelius were demonstrated to audiophiles. In addition, the Avid Partner section hosted technologies from Audionamix, Dolby, Nugen Audio, RTW, Sonnox and others.

realising the issues of loudness in music production and Halo Upmix is attracting increasing interest as it provides a 3D applications.’

Once-shunned market sectors such as live sound and gaming have appropriately been added to the billing. While panels and workshops addressed live sound and project studio recording subjects, game audio and VR discussions also appeared on the agenda. Their very inclusion adds new appeal – and visitors such as students – to a show that has long been steeped in traditional recording techniques offering less relevance in today’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. It’s a similar question that NAMM asks itself when judging whether its members and audiences are DJ-, instrument- or karaoke-focused.

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 lent a positive buzz to the proceedings. Once again, the Live Sound Expo at the rear of the exhibition hall attracted novices and veterans alike during its concert tour sound day.

Clearly labelled and marked on stands, AES67, Dante and Ravenna networking continue to play a central theme in the

AES 2017 promoted ‘Maximum Audio’

A buzzing show floor on day one

Shure invited visitors to listen to its mics

A Fairlight EVO console showcased on the Blackmagic Design stand PMC’s Miles Roberts with the result6

Cadac’s James Godbehear with the CDC six control surface

Eddie Kramer was one of the famous educators promoting Waves’ plug-ins

Focusrite’s network connectivity options displayed as art

The Avid stand at NAB

Genelec demonstrated The Ones

development of most new products. Creation and collaboration through more comprehensive networks push evolution and stimulate further growth. Waves is a perfect example of how a modern manufacturer needs to survive and prosper by creating plug-ins for competing manufacturers such as Avid, Calrec, DiGiCo and Lawo. Endorsed by elite engineers such as Eddie Kramer, Waves exhibited its complete range of hardware and plug-ins, including the B360 Ambisonics Encoder for converting mono, stereo or surround audio into a 360° Ambisonics B-format.

Consoles designed for recording, postproduction and broadcasting were in good supply. DiGiCo introduced its latest John Stadius mic preamp, which includes a differential audio path from input to converter, twin 32-bit ADC conversion company also demonstrated the S App allowing wireless remote control of the S21 and S31 consoles, while fellow Audiotonix brand Calrec highlighted its Brio 36 and Summa consoles. API showcased the AXS, 32-channel 1608 and Vision consoles together with much of its analogue outboard equipment including the 527 compressor, 212L mic preamp and 535-LA Solid State Logic wooed crowds with a range of new products including the System T – S300 compact mountable devices. AMS Neve promoted the Encore automation software together with its 1073 mic preamp and the Genesys Black digital control surface. Having announced the creation of its pro division, Focusrite unveiled the RedNet X2P 2x2 Dante

Tools HD and dual Thunderbolt 3 audio interface.

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. Both KV2 Audio and d&b audiotechnik presented demonstrations from their spacious suites just off the the DS100 signal engine.

L-Acoustics held regular presentations of its Syva segment source technology. Exhibiting with Dolby, JBL Professional invited attendees to experience the power of immersive audio with listening sessions on the 7 Series Master Reference Monitor

system. Audio Precision conducted analogue, digital and electro-acoustic tests using its APx500 series audio analysers

manager, Eric Hodges.

Yamaha video postproduction techniques using Nuage software now providing support for Steinberg Nuendo 7 on the rear, while the front supported by the smaller CL1, CL3, QL5 and TF3 mixers. Nexo Geo M10 and M620 speakers were paired with LS15 and LS18 subs, respectively, while Yamaha DXR12 speakers supplemented by DXS15 subwoofers provided playback.

Faced with a similar dilemma to Yamaha, Sennheiser

Neumann showcased the U87 Rhodium Edition microphone and KH 80 DSP monitor, while Sennheiser focused further development, Sonosax has partnered with Sennheiser on its Ambeo for VR programme with the development of the SX-R4+ recorder that includes an A2B converter for the Ambeo VR mic and a dedicated 12-pin socket for connecting the mic.

Schoeps

Showcasing the KM 975 and MD 300 models together with the BM 180 and 190 stage microphones, UM 930 twin Microtech Gefell had also crossed the Atlantic from Germany to exhibit. The digital Motiv line was one of the main attractions on the Shure stand taking position alongside Axient Digital, PSM transmitters, various vocal mics, including the KSM8 and SM58 models. DPA being installed in all the miniature lavalier and headset mics, imaginable to capture sound during any type of production and this new solution can be heard very clearly by ear while

Lectrosonics continues to push the wireless boundaries system, which combines the M2T half-rack transmitter and M2R belt pack receiver. Audio-Technica catered for the mixed attendance with an extensive range, including the latest addition to its 50 Series with the AT5047 cardioid condenser. Various models of the 40 Series were also displayed sporting the latest shock mounts with improved rubber band architecture, robust cradles and moulds that hug the capsules. Earthworks had made the relatively short journey down from New Hampshire to exhibit a bespoke selection from its live, studio and instrument catalogues. The company also premiered the SV33 studio vocal microphone together with the DM20 drum microphone forming part of its DK7 drum kit.

Genelec

Scandinavian theme in monitoring, fellow Finns from Amphion were in close attendance as was Dynaudio, highlighting its new 9S and 18S subwoofers. UK manufacturer PMC removed the wraps from its lower price point result6 monitors to highlight

models. TransAudio Group highlighted the Auratone Super Sound Cubes, while Quested, Focal Professional, Ocean Way Studios and PSI exhibited their latest wares. The Empire State Building is capped by one of the most Alford antenna. The master FM antenna was erected in 1965 once again lit in the signature AES blue and white colours. Rejuvenated and emboldened through strategic partnerships and a more current programme of seminars and workshops, the AES transmission is true.

2017 Dates: 18 – 20 October, Jacob K. Javits Center, New York

2018 Dates: Dates: 24 – 26 May, NH Milano Congress Centre, Milan 17 – 19 October, Jacob K. Javits Center, New York

Venue: Jacob K Javits Center, New York

Total exhibitors: 266

Attendance: 15,590

Contact: www.aes.org

DPA’s Christopher Spahr and Kalle Hvidt Nielsen launch Core amplifier technology

Audio-Technica’s Gary Boss showcasing the new shock mounts created for the 40 Series

Earthworks’ COO Gareth Krausser with the new SV33 vocal condenser

Yosuke Matsuno and Chris Wright from TASCAM

Wheatstone’s Phil Owens with the IP-64 control surface

Panasonic highlighted 4K cameras, PTZ cameras and network workflow solutions

Neve Genesys Black dual control console

Karin Fleing from Schoeps received an award for the ORTF-3D outdoor solution

Clear-Com highlighted its HelixNet, FreeSpeak II and IV-Core technology solutions

Jason Bond and Michael McCann promoted Extron’s SMP 351 at NAB

InterBEE 2017

Lawo showcased its mc

Genelec AVT Jünger Audio, Lightwinder, Point Source and XTA

Riedel

PRIOR TO THE RELATIVELY RECENT EMERGENCE OF CHINA on the world stage, A/V exports to this northernmost point of respect and manners, with precise attention to detail seen of Harman Calrec, Camco, Coda Audio, DiGiCo, DPA and Triad Orbit

with systems from Adamson Systems, Bose, , d&b audiotechnik, EAW, Electro-Voice, K-array, L-Acoustics, Martin Audio, Meyer Sound, Nexo and TW Audio, all

Audio-Technica, beyerdynamic, Roland, Schoeps, Sennheiser, Shure and Yamaha

from Avid, Powersoft and Symetrix on one side and Martin Atlona, Biamp Mackie, QSC and RCF Mipro, Sound Devices and Stage Tec

monitors from Lectrosonics

JBL while a selection of Soundcraft Crown dbx AKG

TASCAM

dB Technologies and Klotz ais

Williams Sound director of international

SSL

Amphion API Audio

AMS Neve, meanwhile, promoted its Genesys

InterBEE 2017, held at the Makuhari Messe in Chiba, Japan, brought in visitors from around the globe for the biggest iteration of the trade show to date

MTC Japan’s Yashiro Matsuoka and Taketoshi Amino

Live Gear MD Toshikatsu Kanda with K-array’s KH8 loudspeaker array

The InterBEE Experience SR speaker demonstration

The Web Presenter was one of many products showcased on the extensive Blackmagic Design booth

DirectOut’s Christian Muller promoted the ExBox.MD MADI Dante converter

Allen & Heath’s Glenn Rogers and Chris Pines supported their distributor Artwiz

Genelec Japan MD Kanji Murai with international sales director Ole Jensen promoting The Ones

wireless designs have successfully penetrated Broadway and Hollywood in recent years and Japan has observed this trend. ‘Japanese businesses tend to look at the US as the reference

including Audio-Technica, Fostex, Ikegami, Tamura, Panasonic, Sony, TOA

RAMSA will be pleasantly surprised to know the brand is still alive and kicking. Panasonic enter a prize draw or drink at the bar while listening to the grand or Revolabs

The video-centric halls certainly enjoyed a higher footfall of

Ross Video of discussion, and content producers are attracted by the brands including Community, Listen, Orban, Renkus Heinz,

Televic and Tendzone

Yasuhiro Matsuoka. ‘Therefore, it’s good to be here and getting Allen & Heath, Meyer Sound, Optocore and Timax particularly in the theatre and live sound sectors. Bob McCarthy loudness control on the booth with the aid of an interpretator. representatives assisting distributors for the duration of the

during the show – a result of decisions to split distribution according to vertical sectors. This included Taiwanese wireless

Alcons, Inter-M, Phonic, Taiden and Xilica business can be pleasure.

2017 Dates: 15 – 17 November

2018 Dates: 14 – 16 November

Venue: Makuhari Messe, Tokyo

Total exhibitors: 1,139

Attendance: 38,083

Contact: inter-bee.com

Babyface promoted Antelope Audio’s HDX, Thunderbolt and USB audio interfaces

Yoshitaka Hosaka and Edward Lim showcasing the RTS KP keypanels series

A visitor gets to grips with a Schoeps SuperCMIT microphone in the InterBEE Experience area

Media Plus engineer So Onodera and William Sound’s Per Persson promoted infrared and Wi-Fi translation technologies

Ross Video’s Todd Riggs launching the Raptor Edge media gateway

Audio Brains founder Shuzo Fujii and the Martin Audio Japan team declared their satisfaction with this year’s exhibition

Amphion’s Anssi Hyvonen and API Audio’s Dan Zimbelman blend with Mix Wave’s Hirokazu Saika (centre)

Fuji TV’s Takeo Karato with Lectrosonics’ Karl Winkler and Tech Trust Japan’s Tsuyoshi Kawabata and Jiro Iwano

Focusrite’s Damian Hawley and Rich Nevens ensured visitors didn’t miss RedNet during InterBEE

Luke ‘Hiroshi’ Ueyama and Yasuyuki Komachi launching the Cerwin Vega CVX series

Vue Audiotechnik’s Ken Berger and Alex Schloesser flew in to support ESF’s Hiroyasu Sato and Takashi Masuda

Shaping sound, shaping experience

David Claringbold

MORE THAN JUST AN AUDITORY EXPERIENCE, SOUND provides a connection to our place, our art, our ideas and our lives. It has always been so. I have been contemplating the role of sound and where technology, creativity and humanity will lead us. I believe we are entering a new frontier of audio that will enable us to shape sound, and the experience of sound, in ways we hadn’t previously thought possible. At d&b audiotechnik, we call this Sound Futures. It’s a thought process aligned with a sociological perspective, so of our evolving society. Sound is more than just audio, and futures are investments we make today for our collective

In 1930 at the Berlin Radio Fair, the keynote speech was delivered by Albert Einstein. He chose this moment to remind the audience that technicians ‘make true democracy possible’ by allowing people to access content that might otherwise be unavailable to them because of the tyrannies of distance, class or economy. He also told the audience: ‘The origin of all technical achievements is the divine curiosity

Information + emotion = magic

Taking the relative importance of our senses to inform and third to scent. However, when we look at the relative investment in these senses by Fortune 500 companies, the investment in sound is about one-third of its relative importance, while the investment in sight is more than double. Capitalising on this opportunity will require the audio industry to look beyond the current proliferations of ‘big and loud’ and into something more sophisticated.

d&b audiotechnik has focused on all these elements to design new solutions. In February 2017, we launched the d&b Soundscape, a signal matrix processor that runs two software packages, En-Scene and En-Space. The matrix provides a 64x64 input and output network that then allows sources to be Dependent on speaker placement, the sound designer can construct a sonic image to enhance the visual domain of the performance, rendering the sound system so transparent as to disappear. Equally, the creation of vast sonic tapestries will establish a new artistic paradigm, while En-Space software allows designers to create new acoustic spaces to enhance the performance or the venue.

and the play instinct of the working researcher and the constructive fantasy of the technical inventor.’ With these words, Albert Einstein gives us permission to dream, to be playful in our endeavours and unrestricted in our visions. More importantly, he understood the link between technical innovations and the evolution of society.

Sound needs time

Ancient worlds not only utilised sound for ceremonies but

The Australian aborigine has for thousands of years drawn upon a system of sounds that map the vast continent into an interconnected meridian called songlines. These allowed nomadic tribes to navigate a vast desert landscape and know whose land they were on, where the water holes were and what the pathway to their destination needed to be. The singing of songs in an appropriate sequence enabled indigenous people to navigate vast distances. Over time, civilisation evolved to build structures for ceremonies. Stonehenge dates back to 3,000BC, built from stone from 100 miles away. But why those stones and why

superior acoustic characteristics. A study led by the University of Salford points out that Stonehenge’s large, semi-enclosed

an unusual sonic environment for Neolithic Man. Acoustic tests at a full-size replica in Washington State exhibit a short reverberation time typical of a small auditorium, supporting claims of acoustic intentionality in the design. Continuing evolution brought increasingly sophisticated

600BC. In the middle ages, mankind built cathedrals and churches, while royal courts commissioned music and theatre to entertain themselves in their palaces, leading to the modern performance venues of today.

Art is sport, sport is art

Traditionally, venues have been built for one type of entertainment, with dedicated venues for opera, concerts and theatre. Only recently has the need for adaptive performance spaces led to new venue models for audiences who seek to shop, eat, be entertained and informed, socialise and relax, all in the same place. This has coincided with the need for arts, religion, retail and sports to remain relevant to the restless demands of a time-poor, option-rich audience.

announced it had appointed a global director of entertainment. Why? Because of the changing nature of the retail experience, the shopping centre has evolved to become a destination for a range of lifestyle experiences. We can surmise that future venues and events will increasingly look for partners that provide value, innovation and a quality-of-sound experience aligned to their 24/7 programming model, and they will want it on a single platform.

In an early prototype test at Sydney Opera House, the orchestra was too large to be placed in the pit and was set up in a separate for both the audience and the opera singers. Combined with the and the heritage of audio design techniques, technological advances such as these will surely bring new programming possibilities to life.

global audience; mixed reality performances where great artists are brought together and new communities where gamers, creatives and audiences make interactive, personalised content for stadia of fans.

The capability to position sound as individual sources and to create new environments for sound design and performance inspiring experiences for the audience and new creative potential systems will deliver a smorgasbord of options. But the basics of sound and its role in the human domain continue. Sound between the heritage of the past, the reality of now and our vision of the future. It’s about ensuring art, creativity and ideas are communicated with the highest levels of quality and accuracy. d&b audiotechnik is of course an audio technology solutions company, but this is the end result of a driving passion: to communicate art and ideas through sound. More art. Less noise.

www.dbaudio.com

Albert Einstein: technicians ‘make true democracy possible’

David Claringbold

In February 2017, we launched the d&b Soundscape, a signal matrix processor that runs two software packages, En-Scene and En-Space

Smart sound

Following the cut is appropriate for car racing. For example, the wide shots tend to be more open and the cameras by the track are close with Doppler enhancement, and the sounds from the in-car are precise and immersive. Once programmed, this audiofollow-video seems to work well.

Computers were quickly integrated into audio automation repetitive process. Mixing consoles soon offered internal memory that could save snapshots (capture process and routing settings) of the mixing consoles for instant recall. These ‘Scene Saves’ could be thought of as a form of automating the mixing console and can be as simple as volume changes or as complex as full dynamics control and routing.

My friend, Al Craig, who was audio producer for the 2000 Sydney Olympics, initiated the development of a screen-driven audio-follow-video system that was capable of switching between 24 sources. The audio operator used an external computer to open and close any of the 24 audio channels by touching a marker position on the computer screen or by selecting the button that selects the next position in the

system was detached from the vision mixing desk.

AUTOMATION IS WELL ENTRENCHED ACROSS VIRTUALLY every industry. It seems like a good idea for repetitive and dangerous manufacturing, but, when the aeroplane lands, a better idea is replacing the autopilot with human intelligence. In the audio world, I do not really see automation as the ultimate replacement of human labour, but perhaps an augmentation to it – remember, someone has to listen.

The broadcast world has already implemented audio automation with content like live news where you hard switch between multiple microphones on the studio set and microphones from remote feeds. With this application, there is not much subjective interpretation – the microphone is either on or off and the audio level is either correct or not. This type of audio content is usually voice and not sonically complex content that might require subjective balancing. This mixing application is appropriately a likely candidate for automation. The artistic use of technology has brought many innovative production practices. Certainly, audio technology has matured to a point where smart programming and audio intelligence have tremendous possibilities as mixing extension features. Audio-follow-video has been around for several decades resulting from a common feature found in video switchers: the ability to activate a tally light or open or close a switch. Changing between cameras could automatically open and close an audio channel that was associated with the camera that was on-air. In the early days, there were no dynamic controls in the original analogue implementation which resulted in some rough switching between audio sources. When dbx introduced noise gates that could be triggered, there was a noticeable improvement in the sound because the attack

‘jump-cuts’ in the audio.

A problem with early audio-follow-video was accounting for the fact that a single camera may have a series of shots or points of view. A close point of view will have a different sound perspective than a wide shot. I worked with a director who could show the entire two-mile road course with as little as one camera. The road course was cut into a valley and, if you

15 cameras but, from a single camera perched atop the press tower, it was possible to follow a car around the entire course on one.

The vision mixer switches the camera and the switch opens the camera microphone of the camera that is on-air. If you were following the camera cuts around the track, you would hear the cars come and go as they pass by the active camera, but, if you are following on a single camera, there would only be Camera One’s microphone open.

Early audio-follow-video was possible when the cars were covered from a medium-to-close perspective. Problems can arise when the camera can cover a variety of focal lengths but there is a minimum change in the accompanying sound. Audio-follow-video is complex because the sound mixer is either following the action or following the camera cut. Motorsports sound coverage tends to follow the cut of the camera and not the action or the ball in the case of football. In the case of football, following the action means following the kick of the ball consistently over a variety of camera cuts. The intensity of the kick in the sound mix does not usually change with the change of cameras. For example, the wide the sideline. The audio mixer is emphasising the microphone(s) that are delivering the strongest ball kick.

Because the switch was binary, you would turn on or off a microphone or possibly a group of audio signals, but complex programming combinations were not there yet. A boost to more effective audio-follow-video was the digitisation of audio mixing consoles. Digitisation brought sweeping changes in the concept of what a mixing console was capable of – not just blending and routing, but a sophisticated audio engine that only needs to be programmed.

The computer made possible an intelligent connection between the vision switcher and the audio mixing console which permitted more choices than binary switching between sources. There was little doubt that audio automation had its useful applications but it still needed acceptance and advancement. I have heard the argument that automated mixing relieves some repetitive tasks and lets the audio mixer focus on crafting a better mix. But sound mixing is often composed of necessary repetitive tasks, so to me that is not the best argument to automate.

I experimented with audio-follow-video in the 1980s as a tool to precisely switch between the in-car audio and track audio. This was a good test for intelligent augmentation, but not a good reason for any sort of full automation.

A good reason for full audio automation is a production like bobsleigh and luge where setup and mixes change frequently with little preparation time. The sliding events are conducted on all or partial sections of the same course resulting in a wide range of speeds and operator manoeuvrability on the course. Additionally, bobsleigh, luge and skeleton are very different sports with many variations within each discipline, resulting in the dynamics of the sound changing over the course of the

you are chasing the sledge at over 120km for 50s and then

At the Vancouver sliding events in 2010, I asked Philipp Lawo to build an audio automation and audio assist system. Lawo has long been a strong voice for audio-follow-video and its mixing consoles have been innovative and easy to automate. This course was perfect for audio automation – there were no wide action shots and coverage was mostly sequential. This made programming the audio-follow-video pretty straightforward. However, because of the fast and random nature of the pictures at the beginning and end,

Dennis Baxter explores the ever-evolving world of audio automation systems for live sports broadcasting

Kick is connected to tracking data

Lawo has developed Kick

This system was still audio-follow-video, but multiple faders could be programmed and mixed for each camera’s cut. I see this as an audio assist method of automation – and by audio assist I mean each camera cut or event could control multiple audio faders and can open and close the motorised faders in front of the audio mixer. If the mixer wanted to adjust or manually take over, he/she does not have to hunt for the correct fader(s) – the faders are moving in front of the mixer.

In this application, the sound mixer retained sound elements like crowd and venue ambiance for subjective control, because the athlete, course and crowd, and subject to interpretation with the sound. This is where the sound mixer will balance the venue ambiance more creatively than using quick sound cuts between cameras.

Traditionally, audio automation, known as audio-follow-video, has been tied to the video switcher. I have auditioned a couple of technologies that are decoupled from the video switcher and are so good it scares me. In fact, I call it smart sound.

Kick audio technology, designed by Lawo, is not analysing the audio. Kick is connected to tracking data. Tracking data was developed by ChyronHego for graphic visualisation that can follow the action and/or athletes and compile and track data.

The ChyronHego sports tracking and visualisation system utilises 3D Doppler radar-based ball tracking plus a method that optically measures player positioning to create a real-time data feed. Based on the information about where the ball and the players are, Lawo derives what the manufacturer’s Christian Struck calls Points of Interest (POIs). The algorithm translates this into opening the best fader or combination microphone polar pattern, direction of microphone and a couple of other parameters.

The Lawo system uses the existing microphone plan with up for the German Football League, Lawo has developed some different microphone strategies that optimise the system’s ability to control more microphones to deliver the best sound from any

Kick is smooth with the audio transitions as there are no quick fades or jump cuts in the audio transitions because it is responding to data and not vocal commands from a director calling camera cuts. Secondly, the mix is as repeatable as the data. Finally, it can be argued that an automated mix brings consistency to the different games of a league, even if you are not accounting for poor stadium acoustics, loud PA systems and inconsistent microphone positions.

have developed ‘Spatial Automated Live Sports Audio’ (Salsa). Like Kick, Salsa is a method that uses the existing 12 shotgun microphones around the pitch to detect the ball kicks. The system not only looks for overall level intensity, but also the envelope across a range of frequency bands for each sound event type that a sound mixer might want to capture. Additionally, they have developed a number of acoustic feature mixers are looking for and want to capture. For football, these include ball kicks/headers and whistle blows, but there would be different templates for other sports.

When the software detects a match to a template in one

Then the system does some triangulation based on sound arrival at each mic to derive a line across the pitch along which the ball kick must have occurred. Once these conditions are met, the

The Salsa algorithm is capable of detecting ball kicks that are virtually inaudible on the microphone feeds and is more reliable at recognising sound events than our own human ears. To make it work accurately and reliably, you keep a high detection threshold

to avoid raising faders for inaudible kicks. During live production, Salsa uses one of two approaches. It can automate a mixing console’s faders to capture each on-pitch sound event or use the frequency/envelope information of the kick to trigger pre-produced samples.

These sounds can be added to the on-pitch sounds or can replace the game sounds when the on-pitch capture is poor. Whether you want it to sound like an EA Sports game or a Saturday afternoon match on the TV, it is completely up to you as the sound designer.

This method is already working in the domain of audio objects. as a short-term audio object with metadata. Each object is tagged with metadata that says what kind of object it is, the sound’s duration and its coordinate location on the pitch. All this is achieved completely independent of camera cuts and the traditional audio-follow-video, which, at the end of the day, really does not work well in most situations.

As a production tool, the Salsa system can provide the sound mixer with separate channel feeds for kicks and whistle blows that can be mixed with crowd and commentary feeds, leaving the mix free to concentrate on making it sound good instead of chasing the ball with console faders.

Audio automation, intuitive audio augmentation and intelligent audio-follow-video will continue to be integrated into audio facilities over a wide range of applications. I would say that most of these applications would be considered repetitive and maybe boring for some, but for others it might be an entry-level job position. I worry that entry-level audio positions will be reduced and some live mixing jobs like effects sub-mixing could go away. However, I do not see a net reduction in jobs because the quantity of media production is increasing, particularly for media over the internet. I do envision an evolving role for the audio supervisor and sound mixer. The technical requirements for an audio production will become more complex with more obligations to generate more audio feeds and formats plus incorporate interactivity, program it, distribute it, archive it, troubleshoot it and have lunch before the show. However, with all these demands, someone has got to listen and make a subjective evaluation of the audio. It is not always black and white or binary.

I have mixed feelings about audio-follow-video. I agree that a lot of audio mixing is repetitive, but this boot-camp practice is what is needed for entry-level sound practitioners. This is where you learn and advance your craft and move to the bigger shows.

mixers, but, after close to four decades in the sound business, I can assure you there are accountants looking for ways to save money and some of the audio automation I have described is sophisticated enough to replicate many repetitive mixing tasks. Finally, I believe complex, creative soundscapes require subjective interpretation and that a live sound mixer should enhance the visual landscape with a dynamic soundscape. Smart sound is art and must be created by artistic, intelligent people.

Salsa is able to localise ball kicks

The University of Salford has designed Salsa

Going commercial

What began as a personal project to try and save time on home theatre designs has grown

The cloud-based design tool was designed to be a quick way for installers and dealers to create dedicated residential cinema or media room designs, support documents and aesthetic renders. To do this, the software creates a 3D CAD drawing for any room and works out the mathematics associated with technically correct cinema designs. It uses

pretty challenging. It saves days’ worth of work with a few clicks.’

SOMETIMES THE BEST IDEAS ARE SPARKED BY THE heaviest defeats. The determination not to be in that position a better way to do things. Many companies in our industry started out this way and The Cinema Designer (TCD) is one of the newest members of that club.

‘What drove me to do this was a few years ago I put in a quote for a job that I thought we would win and we lost the job to someone who quoted a lot less for a system that wouldn’t have worked,’ says TCD founder, Guy Singleton. While losing out on the contract was a disappointment, it was the time spent to create the design that was the major issue. It can take weeks to create technically correct cinema designs, and clients will only choose one option, meaning that huge amounts of time are spent creating designs that will never come to fruition. To challenge this, Mr Singleton embarked on a quest to reduce this design time to minutes.

Following some challenging early days, TCD was born. ‘I started writing this about four years ago for myself, working on it during evenings and at weekends,’ recalls Mr Singleton. ‘I built it for me and then somebody saw it, thought it was awesome, and said I should do something with it.’

is pretty challenging,’ smiles Mr Singleton. ‘We have an algorithm that takes the width and length of the listening area, the distance to the side and back walls and the ceiling height to calculate the polar coordinates for all of the loudspeakers and give you the x, y and z axes for all of them so you know exactly where they go. To do that manually is

This, alongside information for other components of the room, such as the projector, screen, seating and acoustic material, is then added to the system. ‘With all the data you have entered, it builds the room for you in 3D CAD in about 30 seconds,’ explains Mr Singleton. ‘Because you are doing it in 3D CAD, you get four isometrics, four elevations and a top plan. All of the views you need, you can print them to CAD within a few moments. It will also allow you to select what the room looks like and then see a visualisation of that. You know that all of the coordinates for all of the loudspeakers are good, you know that everything is according to where the manufacturer says it should go, even how the loudspeakers are towed and pitched. You can export it as a PDF and send it to your clients. It talks about why the room is built the way it was, what the

TCD can help designers and clients visualise some elaborate ideas

TCD founder Guy Singleton

The 3D CAD of a 204-seat Dolby Atmos commercial theatre

considerations were, what the volume of the room is, the distance for the seating positions. We’ve taken screen grabs of every elevation, plus an isometric, plus all the seating angles, weeks to do something like this manually.’

Understandably the solution has garnered a lot of attention since its launch. And with many of the manufacturers on its database working across both the residential and commercial sphere, requests were soon being made for the software to be upscaled to handle larger rooms and speaker placement for 3D audio applications such as Dolby Atmos. However, this was not a simple process.

to do the big rooms,’ explains Mr Singleton. ‘We had to build a polar to Cartesian coordinate converter that changes the polar coordinates of smaller rooms into the Cartesian coordinates that what the hypotenuse is, what the angle is and then it converts that to two Cartesian coordinates, which are how far along and from something. Otherwise you could end up with a height allows everything to track with the correct azimuth and tow. ‘The second thing was creating the capability to handle tiered seating,’ he continues. ‘We had to look at everything from polar response graphs to off-axis response and acoustical insertion points for the loudspeakers.’

loudspeaker manufacturers added to TCD’s database. ‘We’ve been talking to people about their bigger, horn-loaded, much address that commercial application aspect and, with this data, we are in a much better position to cover that commercial sphere.’ Mr Singleton is keen that the commercial addition to TCD

and they don’t want to sift through a database of nonsense.

by products and brands that are not applicable,’ he reasons.

manufacturers. That will make it a much more professionally driven commercial database.’ With the solution now able to handle the added complexities of large-scale theatre design, Mr Singleton is quick to point

‘When you are doing 5.1 or 7.1 it’s easy. When you’re doing 32 channels of discretely rendered audio, most people wouldn’t

know where to put those channels, they wouldn’t even know what to do with them.

‘The barrier to business for most people is the complexities of

This has always been the key goal for TCD. Clients will make contract doesn’t have to be so painful.

www.thecinemadesigner.com

The screen shot of a high render channel count immersive audio design

WE ALL WITNESSED THE AGONY AND deadlock that surrounded the music industry in the early 2000s when piracy – via platforms such as Napster and Kazaa – was at its most solutions that could provide protection for might remember, not everything was handled so bad that in 2008 the European Union ruled Apple must remove its DRM (Digital Rights

business model – the company decided against licensing its AAC format Fairplay systems to other mobile content creators, effectively creating a walled garden that was ruled unfair

matured massively in the past decade, both eyes will have noted that while DRM is still

Steve Jobs noted that: ‘If our DRM system is compromised and music becomes playable on unauthorised devices, we have only a small is the emphasis many companies place on databases of content that Apple does, but if you invest great time and effort into your digital offerings, seeking a way to protect that technologies embedding themselves deeper into modern audio productions: acoustic

comparable techniques apply and are available nature, they both work to identify audio content based on acoustic markers, yet they serve more at tracking how content is used, for all kinds of purposes, but especially for marketing and metrics, while the other can offer content creators a sense of security and the ability to

audio source – essentially, a set of digital rules determined through spectral analysis of use this technique to sample a small section of a music track before looking up the

use throughout the consumer industry as a way of identifying music for a variety of digital platforms such as Apple Music still being somewhat hybrid in application, and falling back on the more traditional method

then offers information manually assigned at a

identify attributes common to all records, for

technique one step further by actively adding markers into the audio waveform that can be

of proprietary techniques for doing so, one of Marked technology, recently introduced to help protect against the unintended use of its

‘Celestion has invested a great deal in developing and perfecting its genuine Impulse

valued customers who have paid to download the original has often been degraded past the point of usefulness before the watermark emphasis on ensuring the complete inaudibility use of the downloads should intended and watermarking technology opens the possibility for transmitting embedded additional data in the audio track yet imposes no restrictions in terms of the type, this technique has a broad

In the world of smart devices we now inhabit, acoustic watermarks are increasingly being used as a means for devices to communicate

identifying a particular piece of audio, but it does little in terms of protection and can often sound very similar but, to a computer, how recognisable are two versions of the same song at drastically different audio qualities? How

Authestion Marked is not only important to us,

speaker, it can automatically change its relevant to content creators but, in the 21st of this article is to make readers aware that services available that brands can rely on is new to you, Pro AVL Asia would encourage you to do some more research into the

There are several techniques for protecting digital content. Is it time your business paid attention? asks Simon Luckhurst

The fundamental process of watermarking audio