Pro AVL Asia January - February 2021 by Blank Canvas Publishing Ltd

ProAVLAsia January–February 2021

LIVE SOUND LIGHTING RECORDING INSTALLATION AV BROADCAST POSTPRODUCTION January–February 2021

TAKE ME TO THE RIVER

Howard Smith Wharves revive Brisbane waterfront

MELBOURNE CRICKET GROUND MICA (P) 017/06/2020

TAG ACADEMY OPENS IN MUMBAI

DOES AV DELIVERY NEED TO CHANGE? FUNKTION-ONE GOES TO SPACE

PPS1604/05/2013(022953) www.proavl-asia.com

Singapore: MICA (P) 017/06/2020 PPS 1604/05/2013(022953)

Clever Interaction. Lighter installations. Powersoft Install system solution for source and zone management .

POWERSOFT.COM

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BETTER-SOUNDING WORLD

Audioversity offers training programs that can help anyone who works with audio deliver better sound for enhanced impact and communication in a broad range of applications. Refine your craft through a comprehensive selection of seminars, webinars, and self-training materials designed to build skills quickly and effectively.

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Contents Volume 20 Issue One January–February 2021 NEWS BUSINESS The industry remembers Adrian Curtis

DISTRIBUTION New China dealer for DAS, Powersoft picks Thailand’s M I Engineering 12 APPOINTMENTS Riedel’s R&D on the path to an IP future, AtlasIED’s new EVP

EDUCATION d&b hosts workshops at Yong Siew Toh Conservatory of Music

SPECIAL REPORT Joe Lamond on NAMM’s Believe in Music week

PROJECTS Ayrton fixtures bring Turandot to life in Taiwan

FEATURES THE ‘G FORCE The world-famous MCG gets an upgrade

SPACE INVADERS Funktion-One raises the bar for Guangzhou clubbing

ON THE WATERFRONT Regeneration transforms Brisbane wharves

CREATING A LEGEND ECA2’s latest AV spectacular opens in China

UNANIMOUS VERDICT AV upgrade for District Court of Western Australia

TAG TEAM The Audio Guys open a recording academy in Mumbai

PARALLEL UNIVERSE Singapore’s Aux Media Group embraces Extended Reality

Editor’s note Email: cmoss@proavl-asia.com

Welcome to our first issue of 2021. As we turn the page and move into a new year, there are definite signs on turning these pages that things are picking up across APAC. Our cover feature on Brisbane’s Howard Smith Whar ves (p58) shows how a hospitality venue with an abundance of space has been successfully repurposed to keep drawing the crowds. In Mumbai, which endured one of the strictest lockdowns in the world, new recording academy The Audio Guys managed to take all its training online a mere month after opening, without losing a single student (p66). Singapore’s Aux Media (p68) has conver ted its premises into new Extended Reality studios to bolster its rental business during the pandemic and beyond. Meanwhile in China – first to lock down, first to reopen – the new Space Plus superclub has opened in Guangzhou with a full-blown Funktion-One system. Much has been written about how 2020 has decimated sectors of our industr y across the globe. The suffering and loss have been unimaginable. But I am constantly struck by the resilience of our industr y, and the human need for real-life connection and enter tainment. Maybe we can once again begin to experience a bit of both as we head into 2021. It’s why we do what we do, after all.

BUSINESS LETTER FROM AMERICA Dan Daley spotlights the plight of freelance crews

LETTER FROM EUROPE Phil Ward attempts to define “culture”

COMPANY PROFILE Vega Global goes ahead with planned expansion

TECHNOLOGY RCF discusses the development of its Business Music Solutions

NEW PRODUCTS The industry’s most comprehensive product news

ANALYSIS Hewshott’s Peter Hunt asks if the way AV is delivered should change

Contacts

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inside 50

GENERAL MANAGER Richard Lawn

ADVERTISING DIRECTOR Sue Gould

SENIOR REPORTER Simon Luckhurst

T: +44 1892 676280

rlawn@proavl-asia.com

sgould@proavl-asia.com

T: +44 1892 676280

PRODUCTION MANAGER Adrian Baker

EDITORIAL COORDINATOR Karen Wallace

SALES ASSOCIATE Carolyn Valliere

T: +44 1892 676280

abaker@proavl-asia.com

kwallace@proavl-asia.com

T: +1 562 746 1790

DIGITAL MEDIA MANAGER Nick Smith

VIDEO EDITOR Chris Yardley

SOCIAL MEDIA COORDINATOR

T: +44 1892 676280

nsmith@proavl-asia.com

cyardley@proavl-asia.com

cvalliere@proavl-asia.com

Jessica Ubhi jubhi@proavl-asia.com

BEIJING OFFICE Frank Shao

GUANGZHOU MANAGER Sue Su

CIRCULATION Marne Mittelmann

T: +86 10 8652 5184

T: +86 13609001455

F: +65 6491 6588

frank@proaudioasia.com.cn

COVER: Howard Smith Wharves complex PRINTER: Times Printers Singapore LICENCES: Singapore: MICA (P) 017/06/2020; Malaysia PPS 1604/05/2013 (022953) All rights reserved. No part of this magazine may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or by any information storage and retrieval system, without prior permission in writing from the copyright owners.

www.proavl-asia.com

sluckhurst@proavl-asia.com

@ProAVLCentral

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circulation@proavl-asia.com

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

@ProAVLAsiaMagazine Januaruy–Februar y 2021 PRO AVL ASIA 3

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NEWS Lab.gruppen and Tannoy production heads east WORLD

The industry remembers Adrian Curtis

Music Tribe brands Tannoy and Lab.gruppen are both undergoing manufacturing shifts. Tannoy’s Scottish factory is shutting down and Lab.gruppen’s Swedish manufacturing facility in Kungsbacka is set to close, ensuring production for both brands is moving east.

WORLD

It is with extreme sadness and shock that we report the sudden passing of Adrian Curtis in Dubai at the age of 59. Adrian had been living and working in the UAE since the beginning of 2018 as managing director of distribution company, GSL Professional, relishing both the role and the lifestyle changes it brought about as he settled in Dubai with Jo, his wife of 33 years. Adrian graduated from Newcastle University in 1982 with a degree in electrical and electronic engineering. Joining Soundcraft Electronics in 1983, he was with the company when it was acquired by Harman five years later. Starting as a service engineer, he moved into sales in the late 1980s and progressed through the ranks of the rapidly expanding group, becoming VP of sales for Soundcraft and later taking over responsibility for the Harman Mixer Group sales in 2009. He became interim head of EMEA sales for Harman Professional in May 2012, before joining GSL Professional. “Adrian was my first boss at Soundcraft when I moved into sales in the late 1980s

and he was always supportive; a great mentor and a whizz at Excel,” remembers Ian Staddon, now VP of sales at DiGiCo, who worked at Harman with Adrian. “He was always the one who had to put the whole Harman Pro Group sales budgets together for corporate every year and moaned about it, but I know he loved it really! He was genuinely loved and respected by those that worked for him and especially all the distributors around the globe. Typical of Adrian, he was still working while very ill last week and we were chatting on the phone. This has been a terrible shock and I send my sincere condolences to Jo and the family.” We at Blank Canvas have enduring memories of Adrian too. “While our paths had crossed during his time at Harman, it was only in the past few years when Adrian had moved to Dubai that we were in regular contact,” commented advertising director, Sue Gould. “He was a true gentleman, generous, open and incredibly supportive of Pro AVL MEA – I thoroughly enjoyed his company and spending time with him and his

wife Jo. Our thoughts are with her and the family at this very sad time. He will be sorely missed.” Pro AVL Asia editor Caroline Moss watched Adrian’s impressive progress through the ranks of pro audio, having first met him as a keen young university graduate when they both joined Soundcraft. “I’ll always remember Adrian bounding through the door each morning, his ready grin framed by abundant black hair, clad in the standard skinny-jeansand-trainers uniform of the service team,” she said. “Over the years, as Adrian’s career progressed, the jeans and bushy hair gave way to something more business-like, but the smile never changed, and it was always a pleasure to catch up with him again.” To say that Adrian will be missed by the pro audio industry can in no way convey his huge presence in it for almost four decades, and the extensive network of friends and colleagues he built. Our hearts go out to Jo, their three children, family and friends as well as Adrian’s colleagues at GSL and throughout the industry.

NEXT-proaudio unveils logistics centre PORTUGAL

NEXT-proaudio has unveiled its newly built logistics centre at its headquarters and factory in Porto. The extended building has been created to enhance efficiencies, accelerate the delivery and facilitation of parts and finished goods, and improve warehousing infrastructures. Based on 4.0 technology, customised automatic logistics software combines an online interactive platform with specialised software developed for internal NXT logistics and the optimisation of automatic packing. Aimed to improve quality and productivity, the automated NXT software manages all the orders by establishing a link between the manufacturing and

assembly, logistics and sales teams. Despite the timing, the investment for the expansion was warranted following NEXT-proaudio’s continued growth in recent years. NEXT-proaudio oversaw the design and creation of the 1,000m2 warehousing and logistics development, which also includes a large, open office area for the sales, marketing and logistics departments. Located 10km from Porto’s main seaport and airport, the new site, which is currently preparing for the launch of the new NEXT Audiocom brand, provides convenient transportation links. The Correia family presenting the latest LA26 line array system

Lab.gruppen factory, Kungsbacka, Sweden Regarding the closure of the Faktor vägen factor y, Music Tribe highlighted the consolidation of manufacturing operations and significant investment in a new high-tech facility to “deliver the promise of incredible products and focus on integrated customer solutions”. Similarly, Tannoy’s hub of audio engineering excellence in Coatbridge has delivered classic audio loudspeaker designs since 1976 but, following an announcement by Music Tribe in April 2016 that operations would move to China, the writing has been on the wall for some time regarding the future of the Scottish operation. Music Tribe’s recent investment in manufacturing plants in Thailand, China and especially an upcoming Industr y 4.0 facility in Malaysia, will therefore be key for the future of both brands. community.musictribe.com

Tradeshow news AUSTRALIA: Diversified Communications, the organiser behind Australia’s Integrate trade show, has announced that the exhibition will return to Sydney in 2021 and be co-located with sister show, the Security Exhibition & Conference. The two shows will now run simultaneously from 21–23 July 2021 at the International Convention Centre Sydney. INDIA: Following ISE’s shift in 2021 from February to June which would have left just a one-day gap between events, the organisers of PALM AV-ICN expo have decided to move the exhibition forwards by two weeks. The show will now take place from 13–15 May 2021.

www.next-proaudio.com

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MD 445 and MM 445

Closer. More direct. More intense. The most powerful version of our dynamic high-end microphone series enhances vocals with an unprecedented intimacy and range of detail. At the same time, the high-rejection, super-cardioid pattern offers an extremely high level of feedback resistance. Learn more about the MD 445 top-of-the-range microphone and the MM 445 capsule. www.sennheiser.com

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NEWS: BUSINESS

L-ISA lands in Singapore

L–R: Khiew Chung Wah (L-Acoustics); John Tan, Gerald Fong and Jimmy Lim (CST); and Alvin Koh (L-Acoustics) SINGAPORE

Concept Systems Technologies Pte Ltd has created the first immersive hyperreal sound demonstration suite and showroom in the Southeast Asia region. Having added its AV signature over two decades to a wide portfolio of hotels, houses of worship, theatres and hospitality venues in Singapore and beyond, the systems integrator is now making its presence felt as a major supplier and distributor. Having assumed responsibility for the Symetrix, Martin lighting and AOTO brands since 2018, the Ubi-based setup turned heads having been appointed as the official distributor for L-Acoustics in late 2019. Despite unavoidable delays created by Singapore’s circuit breaker programme, the L-ISA Auditoria has now opened its doors. Located in Ubi, the 220m2 space is divided between the L-ISA Auditoria for promoting a multidimensional sound experience and a training centre/showroom. In addition to hosting audio demonstrations, the L-ISA presentation relies on 4K video content being transmitted to the audience from a large AOTO LED wall. The L-ISA experience is achieved through speaker deployment and by object-based sound mixing that places audio objects in a 3D space. An L-ISA multichannel audio processor lies at the heart of the operations. Controlled by the L-ISA Controller software, the object-based 3D

audio processor controls pan, width, distance and elevation for up to 96 objects. “With the L-ISA immersive setup, it’s not like you install the speakers to the left and right of the stage and off you go,” explained Concept Systems Technologies director of sales, Gerald Fong. “Various speaker hangs are placed across the stage, on the sides and on the ceiling in order to immerse and envelop the audience in sound.” The setup comprises seven X8 speakers and four SYVA subs with a surround sound consisting of seven 5XTs together with another six 5XT coaxials installed overhead. “For the L-ISA presentations and demonstrations, we have to strictly adhere to the protocols and we only just recently embarked on a three-day training programme prior to the official opening,” furthered Fong. “Our target audience is primarily theatre owners who want to know more about immersive audio, although we are also targeting house of worship leaders. Theatre audiences, technicians, show designers and producers will really appreciate this technology when they experience it.” Intended to be a unique audio experience for the invited guests, the four-day event has also taken Concept Systems Technologies out of its comfort zone as sales and business development director Jimmy Lim explained. “For a product launch prior to Covid-19, we would have welcomed and expected hundreds

of people to come and experience whatever we were promoting on one single day. However, owing to the restrictions created by Covid-19, the L-ISA listening experience has in many ways been enhanced. As such, we are hosting three sessions with six guests, each over four days. These private groups experience a more exclusive presentation followed by a more intimate Q&A session. Whilst most Singaporeans know about immersive audio, not all of them have experienced it. I believe that we have picked an ideal time to introduce

and demonstrate the L-ISA concept, whilst the theatre sector remains in limbo.” Having been forced to self-isolate for a full week upon entry into Singapore, L-Acoustics APAC director of application projects, Alvin Koh, was happy to conduct the full training programmes. “As the Concept Systems team had not been trained and was being asked to provide details on L-ISA, we decided to host these sessions. So, the decision to create the L-ISA Auditoria took things to a new level and we had to properly prepare a system for a live show. They have built a great place where engineers will in future be able to book a slot to prepare their works, including the control.” The permanent L-ISA setup will be put to good use, continued Koh. “To a listener, the audio may appear three-dimensional, but technically I would say that we are transforming an audio signal and turning it into an object. This is because the audio incorporates metadata of a special location and we can move the sound object within the soundfield in the room. Once the engineers become familiarised with the controller and the workflow, they will become increasingly confident and speed up. Many engineers who have attended our demonstrations have gone on to accept and use L-ISA. We are fortunate to be able to work with such forward-thinking technicians who are willing to take up the challenge and use the technology.” www.concept-systems.com.sg www.l-isa-immersive.com

The L-ISA Auditoria at Concept Systems Technologies

Midwich launches APAC Mi Services programme APAC

Midwich APAC, a global distributor of AV solutions and unified communications and collaboration (UC&C) services, has expanded its Mi Services programme into Asia Pacific. Under the Mi Services banner, Mi Support offers a full range of after-sales services, including enhanced product warranty, training for AV and UC&C systems and the highest-level technical support and ITIL practices. With proven success over the past two years in the UK and Ireland, Mi Support is available to end users via

Midwich channel partners as a trade resalable suite of support services that

can be added to products or systems at the point of purchase. “End users with Mi Support achieve a guaranteed faster resolution when things go wrong,” said Michael Broadbent, managing director, Midwich APAC. “An on-demand support service maintains business continuity and provides greater productivity at a time when companies are heavily reliant on remote workflows and collaboration and require a stable environment for a consistent user experience.”

Mi Support Maintenance offers three levels of “break-fix” support: Assurance, Onsite and Onsite+. These incorporate access to the 24/5 vNOC Helpdesk, nextday advance parts replacement, software patches and/or updates and product training delivered by technical experts. Mi Support Managed Services offers end-toend problem resolution of appliance video conferencing codecs and integrated AV equipment. www.midwichgroupplc.com

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NEWS: BUSINESS

Dual acquisitions at Shure Three out of eight marks excellence for E&E WORLD

American microphone manufacturer Shure has made two notable acquisitions in recent months to bolster its solutions portfolio with more new options. The first is Finnish company Wavemark, which offers newly introduced solutions

targeting streaming applications, as well as its WTAutomixer plug-in that extends automixing capabilities to wireless microphone systems and can be deployed in any VST, AU and AAX compatible DAW. Shortly after the dust had settled on the Wavemark announcement, the mic manufacturer followed up with Midas Technology, better known as Stem Audio. “The acquisition of Wavemark reinforces our commitment to the evolving needs of the pro audio and events industries,” explained Brian Woodland, vice president, global business development, Shure. “Both Shure and Wavemark have established strong relationships in the industr y by understanding user workflows. Leveraging this mutual success, we will further support the growth in wireless system

scale and complexity, help customers navigate the challenges of congested RF spectrum, while enabling advanced remote control, monitoring and system management tools.” The addition of the Stem Audio product line also complements Shure’s conferencing offerings and provides customers with a greater choice of products as their needs evolve. The two companies will continue to operate separately as integration plans for sales and support are finalised. “We both believe in ecosystems,” commented Shure president and CEO, Chris Schyvnick. “Working together, we aim to provide customers with better options to deploy great audio in more spaces, more

cost effectively and more quickly. Shure and Stem Audio understand the importance of good quality audio and taking care of customers, so this acquisition is a great fit for both organisations.” www.shure.com www.stemaudio.com www.wavetool.fi

SINGAPORE

Another month and another award for Electronics & Engineering Pte Ltd (E&E). The long-serving, Singapore-based AV systems integrator, specialist contractor and supplier has been bestowed with the Corporate Excellence Award by Asia Pacific Enterprise Awards 2020, Regional Edition (APEA). The APEA honours organisations that have demonstrated outstanding performance and tenacity in developing a successful business, while paying heed to the social responsibilities that come with leadership. Receiving the award for the third time over an eight-year period, Electronics & Engineering Pte Ltd managing director Ronald Goh was naturally feeling proud of such an accolade. “With the recognition from a reputable organisation like APEA, it goes a long way to solidify our 70-year organisation as a reputable and trustworthy partner. We will continue to serve our clients with the highest standard and commitment to their complete satisfaction. This award will further encourage our team members to continue to serve our customers with the same hard work and diligence for the next 70 years. Through the years, we have stayed true to our corporate philosophy of delivering excellence in everything we do and live up to our mission statement which is Getting it Right the First Time and Our Credential is Your Guarantee.” The SI has also been awarded the SME 500 Singapore for 2020. The awards

Audin Certifi Digita part o servic Dante sound Aud Certifi seque availa audio audio route availa In Jan Progr Editio refres signifi addit soluti Ronald Goh were launched to recognise Singapore’s leading Small-Medium Enterprises (SME) across major trade and industries that have contributed significantly to the country’s GDP. Recognition is given to those enterprising and privately held companies that have made significant contributions in addition to those businesses that strive for continuous improvements on an annual basis. www.enepl.com.sg

The Stamer Group sets course for the future GERMANY

The Stamer Group has introduced a new management team charged with reorienting and securing the future of the HK Audio and Hughes & Kettner brands within the family business. The announcement comes following the disclosure that co-founder and CEO Hans Stamer is departing after more than 40 years. From 1 November 2020, a new corporate management team of four executives who have been with the company for many years will chart a new course. Bringing many years of experience in the audio sector to the management team, Stamer’s brother and second co-founder, Lothar Stamer, remains as managing director. In recent years, CFO Thomas Bittel has headed the finance and controlling division and is now confirmed as the second managing director and new CEO of the Stamer Group. The quartet is completed by CTO Holger Kartes, who assumes responsibility for manufacturing and development, while sales and marketing is led by chief sales officer, Christian Jordan. “We are very grateful to Hans Stamer for his accomplishments and his commitment to the Stamer Group,” commented Bittel. “Together with his brother Lothar, over

manufacturing high-quality sound systems and guitar amplifiers. He leaves behind a team of competent and highly motivated people who will lead his life’s work further into the future. We are therefore delighted to be continuing the successful development of the Stamer Group together with our customers and partners.” Added Jordan: “With Thomas Bittel, we have a highly competent MD on board, especially when it comes to finances and securing the future of the company. This is a particularly good thing for us, especially at this time when the effects of the ongoing Covid-19 pandemic are being felt in our industry. But the change of leadership will not turn everything upside down. Existing, established structures which we have built up in recent years will of course be maintained for and with our customers and partners. We have achieved a great deal together towards the company’s positive public image. I will continue to work towards this together with my whole team.” Stamer Group’s new management team www.hkaudio.com

the last 40 years he has transformed the family business from the small workshop

where the first speakers were produced into a globally renowned company

www.musicandsales.com www.stamer.group

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NEWS: BUSINESS

Singapore’s Y-DACC becomes first Dante Certified Training Center SINGAPORE

Audinate has established its first Dante Certified Training Center (DCTC) at Yamaha’s Digital Audio Creative Center (Y-DACC) as part of an expansion of its global training services. The centre will conduct hands-on Dante training and administer exams for sound and video engineers. Audinate established its global Dante Certification Program in 2016. Three sequential levels of certification are available, ranging from an introduction to audio networking through managing audio-video in a secured, Layer 3 routed environment. Classes are available both online and in-person. In January, the Dante Certification Program will receive the 2021 Edition update – its first major refresh in five years, including significant updates such as the addition of video to the Dante solution.

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look forward to our companies working even closer together, bringing Dante education at all levels to sound engineers throughout the world.” The first Dante training sessions took place at Y-DACC Singapore on Tuesday, 8 December (Level 1) and Wednesday, 9 December (Level 2). www.audinate.com www.sg.yamaha.com

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Y-DACC offers pre- and post-sales education to sound engineers, helping them to learn about audio technology and mixing with Yamaha digital systems. Handson sessions are delivered with Yamaha’s Rivage PM10 digital mixing system, alongside the CL and QL series digital consoles, and training for installed audio solutions is also provided, including signal processors, multichannel amps and speakers. “Our DCTC is a solid platform for both Audinate and Yamaha to educate sound engineers about the latest digital audio networking technology,” commented Yamaha Singapore’s Lawrence Tan. “At Yamaha Singapore, all members of the pro audio team are certified to deliver Levels 1 and 2 of the Dante Certification Program. In addition, we are currently working closely with Audinate to increase the number of Master Instructors who can deliver Level 3 training, especially in the updated 2021 Edition programme.” Chihaya “Chick” Hirai, general manager of the pro audio marketing and sales department at Yamaha Corporation, previously worked at Yamaha Singapore. “I was always very proud of Yamaha Singapore’s active training initiative when I was a member of the team,” he said. “I believe that this collaboration will further strengthen the partnership between Yamaha and Audinate and I

C S-S E R I E S. On-board DSP and optimization give you unparalleled power, with revolutionary control over every performance environment. This is Adamson’s legendary sound, evolved for the networked future of professional audio. E X PLO R E C S-S E R I E S AT P OW E R. A DA M S O N SYS T E M S.C O M/C O N T RO L

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NEWS: BUSINESS

Telestream acquires EcoDigital WORLD

Telestream has announced its acquisition of media archiving specialist, EcoDigital, formerly known as Front Porch Digital. Telestream, a portfolio company of Genstar Capital, is a vertical market software business focused on the video space. EcoDigital’s Diva Content Management Software (CMS) solution manages the archiving and retrieval of a customer’s assets, automating the process and providing transcoding to and from the archive repository. The overlap between Diva and Telestream’s Vantage media processing platform highlights the potential efficiencies created by the company integration, and a strong customer overlap, with a primary customer base of broadcasters and content owners. Diva

Dan Castles

Geoff Tognetti

software installations typically sit alongside Vantage systems that are providing transcoding of production media assets. Both companies are investing in the cloud and are cloud agnostic, enabling customers to choose the

most suitable cloud platform. “At Telestream, we have always been about creating integrated solutions for our customers, to help them streamline their operations,” commented Dan Castles, CEO of Telestream.

“The acquisition of EcoDigital provides more workflow solutions, especially Vantagerelated, which facilitate tighter integration for the production, archive and restoration of raw and finished assets. Once the integration is completed, our customers can be even more efficient in the management of their production assets.” Added Geoff Tognetti, CTO at EcoDigital: “This company integration is entirely positive news for EcoDigital and our customers since the technology synergies between our two product ranges are considerable. This integration has been well thought out – the end result will create greater efficiencies within customer operations and will be beneficial for their businesses.” www.telestream.net

inMusic acquires ArKaos PMC opens new factory for CI monitors WORLD

WORLD

Catering for the increasing demand of the CI monitor series, loudspeaker manufacturer PMC has opened a new factory in Bedfordshire, UK. Since their launch in September 2019, CI monitors have gained popularity in the fixed installation market partly on account of their shallow depth for on-wall and in-wall custom applications. The same discreet speakers are also infiltrating an increasing number of Dolby Atmos film and music studios equipped with immersive audio setups for their wall and ceiling channels. “In addition to the flourishing custom installation market, CI monitors also form an integral part of our loudspeaker

systems for Dolby Atmos and we anticipate a sharp uptake in demand as more and more professional studios embrace this format for music mixing,” commented PMC owner, Peter Thomas. “Thanks to its almost limitless headroom, power capabilities, pin-point accuracy and sonic fidelity, PMC’s system goes well beyond Dolby’s own minimum requirements, making it the template for many internationally acclaimed studios such as Universal’s Capitol Studios in Los Angeles and the legendary Dean Street Studios in London.” Based just 10 minutes from PMC’s head office in Biggleswade on an industrial estate in Sandy, the new factory covers 565m2 and includes additional space for warehousing. In addition to the latest manufacturing equipment, PMC has invested in facilities for stringent acoustic testing and critical listening, which will be carried out on every monitor before it is despatched. In addition to the new manufacturing facilities, PMC is also increasing its staff resources to support the expansion. www.pmc-speakers.com

inMusic has announced the acquisition of video processing manufacturer ArKaos, bringing it into a family that includes a number of music technology brands such as Alesis, Denon DJ and Denon Professional, M-Audio, MARQ Lighting, NuMark, RANE, SoundSwitch and Stanton, among others. inMusic states that by joining other brands like SoundSwitch,

technologies for a variety of projects including architectural installations, LED applications, broadcast and live events. The company started by developing dedicated video systems for innovative live shows and artists like Jean-Michel Jarre. ArKaos is now focused on bringing state-of-the-art visual technology software to a much wider market. This will

ArKaos will help consumers provide a “fully encompassing performance experience integrating audio and visuals”. “inMusic continually redefines the landscape for music, DJ and visual technology,” commented inMusic CEO, Jack O’Donnell. “With ArKaos joining the home of the world’s premier technology brands, inMusic’s groundbreaking advancements in engineering, design and technology will put ArKaos at the forefront of their industry, and closely integrating them with our other brands will provide consumers an all-encompassing experience.” Founded in 1996, ArKaos offers both hardware and software video processing

include a dedicated video solution for DJs/VJs, with software solutions such as Grand VJ, while MediaMaster provides the pro entertainment industry with software and hardware. “We have successfully closed the acquisition of ArKaos,” stated Agnes Wojewoda, outgoing MD and founder of ArKaos. “We are very excited and happy about this new chapter. The integration to inMusic brands creates an amazing perspective for ArKaos to continue to develop and meet our customers’ expectations.”

centre will enable Ross to demonstrate its configurable control systems like DashBoard and OverDrive, using them to run automated and semi-automated productions, coupled with workflow management systems like Inception and Streamline. The centre also features a variety of solutions purpose-built to support IP, 4K-UHD, 12G-SDI and hybrid workflows. 4K-UHD production is a focal point for Ross as the company works with customers to migrate their operations to 4K-UHD across all transport platforms. The Ultrix routing/ AV processing platform is an important component of the centre’s infrastructure rack as it sits at the heart of the Ross 4K-UHD

workflow diagram, regardless of whether the system is SDI, IP or hybrid. The manufacturer has also acquired Toronto-based manufacturer Image Video, its 16th acquisition since 2009. Image Video is best known for its TSI tally control platform, which is used by major broadcast network providers, sports venues, corporate video facilities and houses of worship. Image Video’s product team led by Zach Wilkie and David Russell, along with their R&D and technical support teams, will all transition over to Ross Video.

www.arkaos.com www.inmusicbrands.com

Ross unveils Korean customer experience centre KOREA

Ross Video has opened its latest customer experience centre in Seoul. The RCK III facility will showcase the complete range of Ross solutions and was developed in conjunction with the Canadian manufacturer’s Korean partners to service customers in the region and provide a space for solution demonstrations, product training and workflow consultancy. One of the features of the new facility is a videowall production solution using either the Voyager graphics rendering platform or the XPression Tessera graphics system to generate ultra-high-resolution graphics on LED videowalls. The training and demonstration

The RCK III demo centre

www.rossvideo.com

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Werner “Vier” Bayer, Product Management and Matthias “Matze” Christner, R&D System Design

We live for these days. Every time a system leaves the factory a new story starts. Bringing thoughts and raw materials to life for a more connected listening world. This is our collective purpose, to be part of a much bigger global picture. Where light and sound and people create unforgettable moments. dbaudio.com/weliveforthesedays

These days will come again.

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NEWS: DISTRIBUTION

New dealer for DAS Audio in China CHINA

DAS Audio has appointed Guangzhou Dasi Audio Equipment as its exclusive dealer for the entertainment market in China, handling the club, bar and KTV sector. The newly established company is headed by general manager and technical director Zhou Zechu and his team members, many of whom have 20 years of experience in pro audio. A sister company has handled brands including Alto and Samson, and Alto joins DAS Audio in the portfolio of the new setup, which will focus on providing systems design, installation and technical support for the Chinese entertainment market. “We have built good communication and trust with Mr Zhou and his team, which is an important basis for cooperation between us,” said Kan Wei, general manager of DAS Audio’s Chinese subsidiary, AV Ganguan in Shanghai. “Mr Zhou pays very detailed attention to the projects he handles. His team is composed of people of all ages with rich experience in the entertainment

APAC

industry. We are honoured to be able to work with such a young, professional team.” The two parties connected during Prolight + Sound Guangzhou in 2019. “I was very impressed with the sound quality of DAS in a local club back in 1998,” explained Zhou. “After talking to Ms Kan, we found we had

similar outlooks. The investment in high-end nightclubs in China in the past two years has been huge, and we were lacking a leading international brand. DAS will complement our original portfolio very well.” www.dasaudio.com

CMI takes on Optocore for Australia AUSTRALIA

Melbourne-based CMI Music & Audio has been appointed as distributor for fibre network specialist, Optocore. “With many fibre-compatible solutions in CMI’s portfolio, this marks a strategic move by our audio division to position CMI as a one-stop solution for per formance, broadcast and commercial audio networking,” said CMI CEO, Peter Trojkovic. “With systems already deployed in world-class venues such as the Madison Square Garden, Opéra Bastille in Paris and the newly deployed system in the MCG, this appointment advances our position as the leading provider of per formance

audio solutions in Australia. We look forward to working closely with Optocore’s solutions engineers in providing time

critical, redundant, audio and control infrastructure.” Added Dawid Somló, Optocore sales distribution manager: “I am delighted for the opportunity to begin cooperation with such a respected company as CMI Music & Audio. It is an important step in the history of our company. CMI unquestionably has the competence to implement our fibre solutions, and consequently we hope to expand our presence in the installation, broadcast and hopefully soon-to-be-revived live sectors.” www.optocore.com

Prolyte appoints All Creation as Japanese distributor

JAPAN

Staging and trussing specialist Prolyte has appointed All Creation to distribute its products in Japan. Established in 1995, All Creation specialises in event construction services, including stage setup, LED assembly, lighting installation and TV and film set assembly.

Analog Way extends coverage over APAC

All Creation first star ted working with Prolyte 15 years ago due to the easy connection of its trusses, which didn’t require bolts and an impact driver to assemble. “I was surprised at the over whelmingly fast assembly speed

without having to worr y about forgetting to tighten the bolts,” said Koichi Okajima, CEO of All Creation. “Back in the day, there was a concern about the lack of experienced engineers in Japan, with safety issues and personnel training the most discussed topics at All Creation. Using Prolyte products, I realised that not only could these problems be solved, construction time could also be shor tened. Par tnering with Prolyte helps us reduce costs. I look for ward to continuing to improve my knowledge of products and expanding the Prolyte market in Japan.” “We are happy to work with such a dedicated and well-organised team as All Creation,” added Eddie Slotboom, projects director at Prolyte. “We are sure that the Prolyte brand will succeed under the flag of All Creation with Mr Okajima.”

Now headed by Asia vice president Guy de Souza, French image processing solutions manufacturer Analog Way has announced three key resellers within the region. Exclusive distribution for Hong Kong and Macau has been agreed with Digital Media Technology (DMT). “We are excited to reveal DMT as our exclusive partner in Hong Kong and Macau,” commented de Souza. “DMT has always been committed to providing the most professional services to their clients and its expertise will be key to increasing our presence in those markets, both in terms of products and services.” Following its inception in 1990, Hong Kong-based DMT has built a solid technical team to provide pre-sales, systems design, turnkey systems integration and after-sales services for customers in the Greater China region. “We are pleased to add Analog Way to our product portfolio and look forward to making the brand available to our Hong Kong and Macau customers,” added DMT general manager, Desmond Stou. “Analog Way’s continual provision of proven solutions to a wide array of applications definitely satisfies the needs of industry professionals.” Founded in 2006, Kinoton Korea takes up the challenge for Analog Way in South Korea. As a highly respected commercial AV systems integrator, especially amongst cinema multiplexes, Kinoton Korea is now tasked to develop digital signage and immersive offerings where video processors will maximise the potential of video integration. At the southernmost most tip of the region, Analog Way has delegated distribution responsibilities in Australia and New Zealand of its entire product range to PCB Digital. With over 25 years’ experience, PCB Digital aims to treat each client project on an individual basis by selecting bespoke products and service solutions according to specific requirements and budget. As part of its commitment to customers, the Sydney-based independent digital business delivers a five-star service and maintenance agreement with every project. “Creating a strategic alliance with a leading international company such as Analog Way opens new opportunities for our clients,” adds PCB Digital director, Christopher Day. “With Analog Way’s responsive, interactive and flexible equipment offerings, we can broaden our product and service solutions to clients, maximising the capabilities of their digital assets.” www.analogway.com www.dmtpro.com www.kinoton.co.kr

www.all-creation.co.jp

www.pcbdigital.com.au

www.prolyte.com

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NEWS: DISTRIBUTION

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M I Engineering chosen for Powersoft in Thailand THAILAND

Powersoft has appointed Bangkok-based M I Engineering as its Thai distributor. Established in 1994, the company is a member of the Mahajak Group importer of audio products. “We pride ourselves in providing excellent service and quality audio products to our customers, which drives us to always be aware of the best solutions available on the market,” said Attapol Praisri, M I Engineering’s product manager, professional audio division. “Everything that we have in our arsenal not only suits our philosophy, but also the systems our customers want to build. Having Powersoft added to our portfolio is going to strengthen this position.” M I Engineering was introduced to Powersoft by Arthur Soh, the Italian manufacturer’s APAC account manager. “We are really pleased to have M I Engineering on board as a partner in the Powersoft family,” said Soh. “They are a very

well-known and reputable company in Thailand, with a breadth of experience in the Southeast Asia pro audio scene. From the very first meeting, I was impressed by how knowledgeable the teams were about audio solutions and their customers’ requirements.” “Powersoft’s amplifier platforms fit perfectly into our organisation,” continued Praisri. “The ArmoníaPlus software in particular is incredibly useful to us, as the remote capabilities save users time in large system solutions, such as those with complex speaker management. Conference systems are definitely in high demand and will continue to grow as a vertical. It’s where ArmoníaPlus is particularly useful.” Powersoft is now planning to run a number of training courses in Thailand as soon as the conditions allow. www.powersoft.com

Aiming to broaden product distribution in the country, Mackie’s parent company Loud Audio LLC has announced a distribution partnership with Creation & Challenge Pro (C&C Pro). “With Mackie’s long-running involvement in music and audio, we are proud to join forces with a company that has been in the industry since the late 1980s,” commented C&C Pro CEO, Cheol Yoon. “The beauty of Mackie’s line is how well positioned their products are with regards to price. We believe there is a huge opportunity for

these products and for Mackie to thrive in Korea and beyond. With its longestablished record in the audio business, we are excited to partner with such a great company and are naturally proud to be Mackoids.” Responsible for the APAC distribution channel of Mackie, Loud Audio’s director of sales, Luis Wasserman, will be working closely with Yoon and his team in Seoul.

C&C Pro CEO, Cheol Yoon

Luis Wasserman

www.cncpro.co.kr www.mackie.com

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NEWS: DISTRIBUTION

HH Electronics partners with Generation AV UK

HH Electronics, part of the British Headstock Group, has appointed Singaporebased Generation AV to look after its sales strategies in the Asia Pacific, Middle East and African regions. Generation AV, headed by David McKinney, will support established partnerships, develop business in new markets and provide technical support and training.

new products, so I’m confident that the appointment of Generation AV will ensure we can build the long-established HH brand back to where it deserves to be as a serious player in the pro audio market.” Added McKinney: “It is great to have the opportunity to work with Ian and the HH team. HH really complements the brands we currently represent and will create many

The socially distancing TPP team

Clear-Com adds TPP to global rental group SINGAPORE

David McKinney

Ian Wright

“I’ve known David McKinney since working together with him at the Harman Music Group,” said Ian Wright, Headstock Group global sales director. “I have continued to watch him develop his skills over the last 15 years, both personally and professionally, and am extremely excited to have this opportunity to work together again. David’s in-depth understanding of all aspects of the professional audio business in APAC, in conjunction with the solid relationships he has built over the years, will certainly be a major asset to HH and the further development of our business. HH has great plans for the future, including many exciting

opportunities in the MI and commercial audio markets. After listening to the latest products, we were really impressed with how good they sound for the price. We believe this competitive positioning will work well in AMEA. Our focus will be building new distribution channels with partners who are looking for a new brand with a strong name to grow with. There is a great future strategy with an exciting product roadmap that will reinforce HH Electronics as a serious player in the region. At Generation AV we are excited to be part of the HH team.” www.hhelectronics.com

Clear-Com has appointed The Production People (TPP) to its network of global rental partners. TPP has a 22-year history, beginning as a small enterprise providing sound for parties and growing into a one-stop production services provider for live events, offering audio, lighting, video and rigging services. When the pandemic threatened the live events market, TPP recognised the necessity to diversify to serve its customers. “I saw the need for reliable comms as virtual events became part of the new normal,” said TPP owner, Sheldon Gooi. “New safety restrictions meant that audiences in a single location would be limited and spread across multiple rooms and venues. Comms between these sites would be crucial.” MICE (meetings, incentives, conference, exhibitions) events – a large part of Singapore’s live industry – have been limited to 250 people in the Covid-19 era. These are separated into 50 people per zone, each of which is in a separate location. TPP wanted to find an

Barco spreads across APAC

effective solution for communicating across remote locations, and turned to local Clear-Com partner, Electronics & Engineering, and the Agent-IC mobile app. “The fact that Agent-IC could be connected to a hard-wired system makes it a secure and reliable solution for linking remote sites,” said E&E sales manager, Gordon Tan. “We had a few trials with event organiser clients before partnering with Clear-Com, and they were so impressed, it sold me too,” added Gooi. “Clear-Com and Agent-IC have restored confidence in our clients who are forced to be physically separated in today’s circumstances.” “We’re proud to welcome a company who is as dedicated to customer satisfaction as we are, and we look forward to supporting TPP in today’s event formats, as well as in live, in-person events once they resume,” said ClearCom’s regional sales manager for Southeast Asia, Hans Chia. www.clearcom.com

APAC

Barco has announced the appointment of three regional technology providers to further its expansion in APAC. First is digital workplace solutions specialist Vega Global with the partnership designed to provide Asian organisations with the technology, tools and expertise to implement hybrid workplace solutions enabling employees to connect using preferred devices and applications. Vega Global will get access to the complete portfolio of Barco solutions to serve corporate and education customers with digital workplace and learning technologies across Asia Pacific. To commemorate the new partnership, a signing ceremony was held at Barco’s Singapore Experience Centre, in line with Singapore’s social distancing measures. Showcasing the hybrid meeting and learning in action, executives from Barco’s Singapore office and Vega Global’s Hong Kong office connected over Barco’s WeConnect virtual platform to commemorate the partnership. Second, the manufacturer has signed an agreement with ESCO to provide access to One Barco solutions ranging from visualisation to collaboration tools,

including wireless presentation applications, LED walls and management control in the Asia Pacific region. Speaking on the collaboration, ESCO managing director, Sujith Sivaram, added: “This ESCO–Barco partnership is extremely important to us and our customers, to build a resilient supply chain that seeks to fulfil their needs. Barco’s reputation for quality and innovation combined with their sterling reputation in the industry is unparalleled. The One Barco

solution suite encompasses a comprehensive range of solutions to address the needs of our clients, which is why we are excited to embark on this journey together with Barco.” Finally, Barco has partnered with global technology distributor Ingram Micro to represent its ClickShare conference solution in Singapore, Malaysia, Thailand and Indonesia. The hybrid-enabled Unified Communication & Collaboration (UC&C) solution allows organisations to facilitate hybrid working by allowing employees to connect using preferred devices and software. Ingram Micro uses a global infrastructure to deliver cloud, mobility, technology lifecycle, supply chain and technology solutions. Barco has been expanding its presence in APAC, especially in the UC&C space, as organisations seek to improve virtual meeting experiences and productivity in response to the pandemic. www.barco.com www.esco.com.sg www.ingrammicro.com www.vega-global.com

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NEWS: APPOINTMENTS

New appointments put Riedel’s R&D on IP path WORLD

Riedel Communications has appointed Renaud Lavoie to the newly created position of senior vice president of technology and Peter Glättli as director of research and development. Both reporting directly to CEO and founder Thomas Riedel, Lavoie will work to drive technological innovation, advance Riedel’s video solutions portfolio and strengthen the company’s expertise in IP-enabled hardware and software, while Glättli will assume responsibility for the company’s five main development hubs to advance its IP-enabled hardware and software solutions. Locally, Vincent Lambert has also been

Vincent Lambert

Peter Glättli

R&D disciplines. “I am pleased with the trust and confidence that the Riedel team has in my abilities to assume this new role, which is dedicated to our efforts to shape future workflows for the broadcast, entertainment and AV industries,” Lavoie commented. “I look forward to keep exploring untapped possibilities in the realm of IP technology with the talented Riedel R&D team – the best and the brightest in the field.” Glättli has spent two years as head of R&D at Riedel’s Zurich location, leading teams in Switzerland and Germany to develop audio engine technologies. “Riedel has

promoted to general manager for Riedel Japan and South Korea, moving into the role after serving for four years as the manufacturer’s head of global system consulting. Lambert takes the helm of the Tokyo-based operation that has grown significantly since its opening five years ago and will report to APAC director, Simon Roehrs. Lavoie moves into this strategic new role having served for almost a year as the MD for Riedel Montreal, a position he took on upon Riedel’s acquisition of Embrionix. As senior vice president of technology, Lavoie aims to increase interaction between Riedel’s research teams by managing a rotating group of expert engineers from different

an outstanding and talented development team, both in terms of quality and quantity,” added Glättli. “It’s a great honour to be able to take the helm, and I’m excited about working with this team to help cement our ongoing success, particularly in the realm of software development platforms. It’s a joy to be associated with a company like Riedel, filled with people who are creative, innovative, courageous and willing to take risks. With this kind of commitment, we are guaranteed to make a real difference in the marketplace and for our customers.” In his previous role of as head of global system consulting, Lambert grew a team of 10 customer service engineers into a 33-person technical pre-sales department focused on strategic, structured, highperforming commercial support. “Vincent is the ideal choice to head Riedel Japan,” stated Roehrs. “He brings a powerful mix of broadcast engineering, sales engineering support and business management to this important position, as well as in-depth knowledge of the Riedel product family and our customers’ requirements. He and his five-member team are perfectly positioned to propel Riedel into the next generation of growth in the vital APAC region.”

Renaud Lavoie

www.riedel.net

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AtlasIED locates new Renkus-Heinz appoints executive vice president Kathuria as director of operations

Matt Czyzewski WORLD

Aiming to strengthen its presence in the commercial audio marketplace, AtlasIED has appointed industry veteran Matt Czyzewski as the company’s new executive vice president. In recent years, the USbased global electronics manufacturer of commercial audio, communications and security solutions has strengthened its presence outside the domestic North American market. “The addition of Matt to our executive team will cultivate new opportunities to ensure our continued success as we grow sales through our dealer channel and distribution partners,” commented president of AtlasIED, John Ivey. “Exciting new product

introductions, combined with our continued commitment to building the strongest company leadership possible, positions AltasIED as a leader in the commercial audio industry.” Relocating from southern California where he previously served as president for Renkus-Heinz, Czyzewski started his career in professional audio as a product manager in 1996 for Biamp. Over two decades, Czyzewski steadfastly ascended the career ladder for the Oregon-based manufacturer to reach the presidential summit prior to the acquisition by Highlander Partners. As such, Czyzewski has been drafted in to drive sales and business strategies at AtlasIED in addition to product development and sustained growth. As the commercial audio marketplace continues to evolve, his strong leadership skills and passion for technology will help AtlasIED exploit business opportunities while promoting brand awareness among dealers, distributors and decision-makers within relevant market sectors. “It’s clear in discussions with AtlasIED’s executive team that the company is on a trajectory for amazing growth,” added Czyzewski. “From its development of new business opportunities to its introductions of innovative technologies, AtlasIED exudes the energy and vision that aligns perfectly with my appetite for growth, educated risktaking and entrepreneurial spirit.”

APAC

Renkus-Heinz has appointed Karan Kathuria as its director of operations across Asia, Oceania and SAARC. In this newly created role, Kathuria aims to further evolve Renkus-Heinz technologies to consultants, systems integrators and end users across the designated territory.

Kathuria’s professional experience at Bose, Harman and most recently Music Tribe pertained to engineering, sales, operations and marketing roles. “One of the biggest reasons for me joining Renkus-Heinz is the company’s inclination towards cutting-edge technology,” commented Kathuria. “This is a company that understands and appreciates the mechanics and physics of sound at an incredible level, which enables it to address inevitable acoustic challenges across various applications.” The coming months will be a critical time for pro audio as it plays a significant role in the return to physical workspaces, added Kathuria. “We need to give people the right setup to return to professional and personal environments, including corporate spaces, schools, houses of worship, sports facilities and large venues. I believe there is a huge opportunity to unleash the power of Renkus-Heinz into different verticals.” Industry veteran and Renkus-Heinz VP of international sales Karl Brunvoll has been developing the APAC region since the 1980s. “Karan is a tremendous resource and we’re excited to have him on board,” he commented.

Karan Kathuria

www.renkus-heinz.com

www.atlasied.com

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NEWS: APPOINTMENTS

Symetrix Paul Lee to lead market development promotes for QSC in Southeast Asia Robinson APAC

WORLD

Symetrix has promoted Tylene “Ty” Robinson to director of sales and marketing. “Over the last 18 months, Ty has been a driving force within the Symetrix team, and a significant contributor to Symetrix’s growth and success,” commented Mark Graham, Symetrix CEO and owner. “As we move fur ther into Symetrix’s 2.0 evolution and our strategy continues to grow in scope and complexity, unifying sales and marketing under Ty’s leadership will strongly contribute to our continued growth and momentum.”

Paul Lee has joined QSC as APAC business development manager – Systems. He takes on responsibility for growing the Systems business in Indonesia, Malaysia, Singapore and Vietnam and will improve service levels with end users throughout APAC by ensuring smooth and consistent deployment of QSC solutions with their chosen integration partners. Having amounted 16 years of sales operation and technical service experience in the AV market prior to QSC, Lee most recently served

as director technical services, APAC for Harman where he oversaw the technical services and training team. “I have always observed the large impact QSC has had on the market over the past several years,” explained Lee. “Therefore, I am excited to join this innovative team and look forward to working with the systems partners and end users as we continue to proliferate the Q-Sys Ecosystem throughout the APAC region.” www.qsc.com

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Ty Robinson With a background in web design and digital marketing, Robinson will suppor t the marketing team in unison with the Symetrix global salesforce. “I have a unique oppor tunity to amplify my passion for people and unlock ever y element in the equation of transformative growth,” said Robinson. “My professional background, along with my continued education centring on business operations and digital marketing, enables me to lead these teams to execute at high per formance levels. I feel a tremendous responsibility to show great character in representing women in technology, women in leadership and leaders of the next generation. I have a responsibility to stand up, ask hard questions, and take risks that challenge mediocrity while setting a positive example and driving business excellence.” www.symetrix.co

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NEWS: APPOINTMENTS

Katrin Rawks rises to leadership role at Meyer Sound WORLD

Meyer Sound has announced the promotion of Katrin Rawks to director of loudspeaker engineering and the hiring of Ianina Canalis as application architect, spatial audio specialist. Rawks, who started with the company as a student intern in 2003, has taken on increasing responsibilities over the years, holding positions in mechanical engineering and transducer engineering, where she worked directly with company president and CEO John Meyer and vice president and chief loudspeaker designer Pablo Espinosa on the mechanical and acoustical designs of 23 Meyer Sound products, including the LEO family, the ULTRA-X point source loudspeakers and the Bluehorn system. “What I really appreciate about Meyer Sound, and why I’ve chosen to make my career here, is the scientific integrity that underscores all we do,” said Rawks. “It’s

Katrin Rawks

Ianina Canalis

inspiring to be surrounded by people who are extremely knowledgeable and who are as enthusiastic about what they do as I am.”

Joining Meyer Sound early in 2020, Canalis is already contributing to the final development stages of the Spacemap

Go spatial sound design and mixing tool. Prior to joining Meyer Sound, she held posts as a lecturer in live sound technology at universities in the UK and her native Argentina. During this time, she continued to develop her own software for multichannel live sound production, ISSP, or Immersive Sound System Panning, which she started while studying for her Master of Science in Audio Engineering from Leeds Beckett University. “It is wonderful to be part of the Spacemap Go global development team,” said Canalis. “Each member comes with a spectacular background, which enhances the exchanges among us. We are refining this software together, continually improving the tool as we strive to increase the creative possibilities.”

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Helen Jones returns to Calrec as operations manager WORLD

Helen Jones, who previously worked at the company, has rejoined British console manufacturer Calrec as its operations manager. In her new role, she will ensure manufacturing and operations meet the demands of the business for quality, ontime delivery and team development. “This appointment is another example of Calrec continuing its investment in the future, both ours and that of our customers,” stated Calrec general manager, Sid Stanley. “We’re always striving to improve our production efficiency and quality, using the latest techniques. The Covid era will bring new challenges to

Helen Jones

our supply chain and the way we work, challenges that we will face head on so our customers remain unaffected. Helen’s role will be to ensure that operationally we stay ahead of a fast-evolving and changing business environment, combining her great knowledge of Calrec with her leadership and management experiences to take operations to the next level.” Jones is well versed in the latest production models, has extensive project management experience and, as a former engineer at Calrec, understands broadcast customer needs and requirements. She has a strong track record in the industry.

“We need to work in as agile a way as possible, being as responsive to short notice demands as possible while never compromising on quality,” commented Jones. “Calrec is an innovative company that puts both technical capabilities and quality control first, which is hugely important given the challenging times we’re all in. My decision to return to the company was an easy one, and I’m excited to execute my skills and knowledge to effectively manage my team and quality of the products so that our customers truly benefit.” www.calrec.com

Analog Way announces Oscar Juste appointed senior VP of global sales new vice president for Asia APAC

WORLD

Oscar Juste Ross Video has appointed Oscar Juste to the newly created role of senior vice president of global sales, providing leadership and strategic direction while

helping drive expansion into new international regions and markets. Juste joined Ross in April 2016 as director of sales for EMEA, guiding the manufacturer through a three-year period that saw turnover in the region doubling. He was then promoted to vice president of sales for EMEA, Asia and LATAM in May 2019, helping deliver a 29th growth year for the company. “2020 has been an extremely tough year for everyone, and Ross has certainly not been immune to the challenges posed by the pandemic,” Juste commented. “Our entire industry has been forced to change and adapt, but Ross has weathered the storm with remarkable resilience. I’m looking forward to helping our immensely talented sales and support teams around the world as we continue proving our worth as a trusted technology partner for the long term.” www.rossvideo.com

Analog Way has appointed Guy de Souza its new vice president for Asia, heading up its subsidiary company. de Souza has more than 10 years of experience in the APAC AV industry, most recently with Samsung. “Analog Way has ambitious growth plans in Asia,” commented Adrien Corso, CEO of the image processing systems manufacturer, which is headquartered in France. “We are thrilled to have Guy joining our team. I’m convinced that his experience and leadership will help us increase our reach and further build and strengthen our customer and partner relationships in the region.” In his new role, de Souza will focus on growing Analog Way’s presence and distribution network in key markets, while strengthening the company’s relationships with existing partners. “I am truly excited to be working for a company like Analog Way,” said de Souza. “As an established market leader in image processing with high growth potential, Analog Way offers amazing innovative solutions to

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Guy de Souza help its customers meet their goals, and I look forward to contributing to its development.” www.analogway.com

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NEWS: APPOINTMENTS

Robert Soo to lead tm stagetec systems appoints Blackburn for pro audio pro audio growth for Intricon Asia AUSTRALIA

ASIA

Intricon Asia has appointed Rober t Soo as its technical consultant for product and strategic development programmes. In this newly created position, the respected Cogent Acoustics founder and consultant joins the pro audio and micro-medical communications technology manufacturer for a second instalment.

audio industr y, Intricon Asia is preparing itself for accelerated growth of its pro audio business.” For the past nine years, Soo has developed his AV and acoustics consultancy business in addition to training a diverse clientele within the house of worship, educational institution, theatre, commercial and corporate sectors. “I was

Michael Blackburn has joined tm stagetec systems to handle professional audio and broadcast sales. “We are excited for Michael to join our sales team,” commented Mark Lownds, general manager at tm stagetec systems. “Michael comes to us with an enormous amount of technical experience and has worked for many years in roles that are on the other side of the sales process. He understands clients’ business needs and how to provide the type of sales service that builds long-term relationships. Michael is an asset to our team and is ready to help support our current and future clients.” Added Blackburn: “Having had extensive handson experience in the maintenance, design, project management, acoustic design, technology architecture, procurement and operation of broadcast and audio studios facilities, I am able to apply practical experience to supporting our clients’ needs. I am excited to be working with tm stagetec systems representing some of the most advanced audio solutions available today.”

In addition to his new job, Blackburn is also a musician and engineer and owns two music recording studios. www.tm-systems.com.au

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L–R: Winson Chan and Robert Soo Headquar tered in Singapore, Intricon Asia general manager Winson Chan explained why they are currently aiming to take the pro audio business to the next level of per formance. “Intricon Asia is currently experiencing a strong momentum within its R&D team, so the timing is per fect for Rober t coming on board as technical consultant. We are widening our market focus with highly competitive product of ferings, including a revamp of our product line-up in addition to redefining our ‘goto-market’ strategy. By forming a consultancy ser vice based on Rober t’s vast knowledge and experience within the pro

actually working at Intricon for a little over 10 years before I set up Cogent Acoustics in 2011,” Soo commented. “Back then, I was working in R&D developing products and solutions that are still ver y much used today in the per formance ar ts, aviation and security. Although I love my current consultancy work in AV and acoustics, I missed R&D. When Intricon approached me and of fered me a par ttime consultancy role for their development programmes, I was thrilled as it allows me to enjoy the best of both worlds.” www.cogentacoustics.com www.intricon.com.sg

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NEWS: EDUCATION

d&b hosts workshops at Conservatory of Music SINGAPORE

d&b audiotechnik took part in the recent Mix With YST (MWY) workshop at Yong Siew Toh Conservatory of Music, conducting three seminars over the three-day event covering the principles of acoustics and the capabilities of immersive sound technology.

Leading the seminars was d&b’s Asia Pacific team lead, Gareth Kelbrick, who shared his anecdotes and expertise to educate future sound professionals. Kelbrick’s seminars, each hosting 30–40 students and available on the university’s YouTube channel, covered electroacoustics, line array theory and immersive technology. “It was exciting for us to see so many enthusiastic students attending the seminars, eager to learn more about the industry,” he said. “It was an honor to be asked to present these courses, share my insights and represent d&b, all while supporting our goal to help nurture the next generation of audio enthusiasts.”

“We specifically chose d&b to facilitate this course because they lead the way in the pro audio industry and are recognised globally for producing high-performing, reliable products,” added Zhou Xiao Dong, professor at the Yong Siew Toh Conservatory of Music. “d&b has

achieved a superb reputation in the educational domain, not to mention a great market reputation in Singapore, so choosing them for this course was second nature.” Added Anand Narayanan, president of APAC, d&b audiotechnik: “At d&b, we value the interest, passion and drive that young people exude when they begin learning about our remarkable industry. It is our pleasure to spread knowledge and welcome such collaborations with colleges and universities in order to help expand the students’ education on the latest innovative technologies such as Soundscape and strengthen the industry into the future.” www.dbaudio.com

d ETC and High End Systems assist lighting workshops SINGAPORE

Esplanade Academy, an educational initiative by national performing arts centre Esplanade Theatres on the Bay, recently held a series of socially distanced lighting design workshops. The academy provides training opportunities for local performing arts practitioners, creating opportunities for them to connect and share expertise. Singaporean lighting designers James Tan and Lim Woan Wen created and conducted the workshops, with luminaires from ETC and High End Systems brought in to assist the trainers in demonstrating lighting design skills to the participants. “A small group of Singaporean lighting designers wanted to organise a series of lighting design classes to level up the skill sets of local theatre practitioners,” commented Tan. “While we were in the planning stages, Esplanade approached us with the same idea. Both Woan Wen and I felt honoured to be able to conduct workshops for the academy. The workshops were very well received, and it was a valuable experience to

RCF Audio Academy completes first certifications WORLD

The RCF Audio Academy recently hosted its first in-depth certification course. Called RCF Professional Team, the course certifies pro audio engineers and their knowledge of the manufacturer’s products. It’s an in-depth training programme with

It’s an in-depth training programme with the goal to create a team of professionals and companies that guarantee the best sound quality for the listener the goal to create a team of professionals and companies that guarantee the best sound quality for the listener, and optimum results for the client, when deploying RCF systems. The first session was held at the company’s training centre in Reggio Emilia, Italy. “We felt the need to certify the best professionals who use RCF products,” said Fabrizio Grazia, RCF sales manager and coordinator of RCF Professional Team (Italia). “Although RCF products are easy to use and incorporate technologies that facilitate installation and setup, we also want to educate our customers with

extensive knowledge for optimal use of our technologies in every scenario.” The course, held by RCF system experts, includes two full-day sessions. It starts with an entrance test to examine each participant’s proficiency so that the lessons can adapt to the students, and ends with a final verification test to evaluate the knowledge acquired and to clarify any uncertainties. Each student receives a certificate of participation and is subsequently certified as a member of the

RCF Professional Team upon passing the test. During the sessions, new and upcoming technologies have been anticipated in addition to lessons about acoustics, electro-acoustics and insights into the manufacturer’s technologies. During the presentation, the participants welcomed the release of RCF’s proprietary RDNet 4.0 Management Software with a complete course.

connect with arts professionals, share the fundamentals of stage lighting and enhance their capacity of appreciating light as another performer onstage.” ETC, together with Singaporean distributor StageEquip, supplied fixtures including Source Four LED Series 2 Lustr, ColorSource Spot jr, Source 4WRD LED retrofit, Relevé, SolaFrame 3000 and Gio@5 consoles. “ETC manufactures flagship luminaires for theatrical lighting,” said Calvyn Siaw, director of StageEquip. “There was no doubt that they would provide the ideal fixtures to demonstrate how colours can be evocatively mixed with their Lustr x7 Color System and four-colour mixing system from the ColorSource family. I’m glad that participants understand the importance of a quality light and LED colour mixing system through this course, and they learnt how a quality fixture could make a difference in their next production.”

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www.etcconnect.com www.stageequip.com

Green Hippo launches online HippoSchool

www.rcf.it

ONLINE

Video manipulation specialist Green Hippo has launched an online version of its HippoSchool training, allowing Hippotizer media server users to access learning in a virtual environment. HippoSchool Online offers basic training of the Hippotizer ZooKeeper software – the control interface for Hippotizer and the hub for real-time control of the engine and all of its components. Sessions consist of two online modular courses that take approximately five hours to complete, with more courses in the pipeline. www.green-hippo.com/training

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disguise takes learning online ONLINE

disguise has recognised the need to take learning online and is providing users access to the company’s full complement of courses directly from a new online learning management system (LMS), free to anyone looking to upskill in any of the disguise workflows and disciplines. The disguise training team has redesigned the entire training programme in order to facilitate remote and flexible learning. The new programme will split each major course up into two parts: one taught online on the new system and the second, more practical part, carried out in-person. The programme will allow students to test their knowledge on specialist disguise equipment and have the option to undertake entire courses in a classroom setting. The new approach allows disguise users to learn concepts anytime, anywhere

at their own pace and recap material easily after they have taken the classroom courses. www.training.disguise.one

First Option’s events industry Covid training

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UK-based, but globally relevant safety consultant, First Option, has devised an online events-specific course for touring, festival and live event production professionals to assist with running events in the pre-vaccine period. The Event Covid-19 Supervisor/ Compliance Officer Advanced Level Training has been adapted from its successful TV and broadcast course to equip any crew able to work intermittently. The new sector-specific course material, written by event safety expert and course leader Martin Barraclough, incorporates procedures outlined in Tour Production Group’s (TPG) Covid-19 Working Procedures Guidance, a set of guidelines that Barraclough was instrumental in producing. Made up of leading tour and production management professionals, as well as supply chain experts, the TPG developed the guide to inform and enable the management of risks presented by Covid-19. The course trains individuals to implement, monitor and oversee Covid-19 arrangements on event productions. Moreover, candidates have access to learning resources to support their ongoing education, including First Option’s The Yellow Book: Covid-19 Production Manual, written by a team of in-house

experts, including microbiologists, medical doctors and chartered safety consultants. The Event Covid-19 Supervisor/Compliance Officer Advanced Level Training has already received positive feedback from its first round of attendees. Touring production manager Paddy Hocken [Biffy Clyro, Queen] was amongst the first to complete it. “I personally got a lot out of this training and believe the whole class did too,” he commented. “It’s also great that it links back to TPG’s detailed guidance. I would strongly recommend this course to anybody working in live events or concert touring in a senior role. Martin is exceptionally well placed to deliver this course.” “With the prevalence of both streamed and virtual esports, elite sport and business conferencing events underway, teamed with further uncertainty ahead, the training is already well subscribed, and I believe it’s something every live production can benefit from and be reassured by,” added Barraclough. “Production personnel can add the implementation of these realistic Covid-19 procedures to their world-class production values.” www.firstoption.group

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NEWS: SPECIAL REPORT

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Q& We’ve seen many different tradeshows take their events online since the pandemic hit. Is Believe in Music going to be doing anything different?

Yes, we sure hope so! Whether last Januar y’s NAMM Show was your first or you’ve been coming for decades, many see it as more than just a tradeshow but rather a vibrant, real-time reflection of the incredible innovation and passion that is uniquely found in our industr y. In recognising the profound impact of Covid-19 on both companies and individual professionals, we knew that we had to look to a larger vision, and that vision led us to Believe in Music week: the online, global gathering to unite and suppor t the people who bring music to the world. The NAMM team set out to bring this vision to life with our platform vendor, Swapcard, to create and encapsulate those valuable networking oppor tunities, education and training, and brand experiences found at the NAMM Show to ser ve all members and inspire more music makers, essentially creating a social network specifically for the industr y. Our goal is to look to the future success of our members and the industr y and help propel ever yone into 2021 with new products, professional training and the fun, networking comrader y of the Hilton bar through our main station, Believe TV.

Joe Lamond, NAMM president and CEO, answers our questions about the organisation’s Believe in Music week, a global gathering which takes place online from 18 January 2021

What are the key ways in which NAMM is using Believe in Music to help the industry enter a new year as it adapts and moves forward? Adaptation and meeting new challenges posted by Covid and continued economic recovery will be paramount as we move into a new year. At Believe in Music week, industry professionals will have the opportunity to participate in over 160 valuable education and training sessions from leading experts on the latest strategies, tactics and best practices to advance their career, and a robust marketplace to see what’s next. Believe in Music week educational partners include TEC Tracks, where members will take part in big-picture sessions and high-profile topics in recording, live sound and music business with the likes of Dave Cobb, Craig Bauer, Patrice Rushen, John Boylan, Suzanne Ciani, Billy Bob Thornton, Peter Asher, Tom and Chris LordAlge and others. The AES (Audio Engineering Society) will also join Believe in Music to present educational sessions on key topics for audio professionals, including streaming live performances, next steps for the live event industry, mastering mixes and careers in professional audio. A3E, Advanced Audio + Applications Exchange, will also return with a series of future-forward education on how next-generation content creation is reshaping the entertainment industry. Topics will include content creation platforms pioneering new music industry business models, applying

NAMM president and CEO, Joe Lamond gamification principles to musical instrument design, concerts in a virtual world and live versus livestreaming. Audinate will offer free Dante certification training of its leading audiovideo network solution, including updated levels 1 and 2 training. At the end of these trainings, attendees should be skilled enough to complete the Dante certification test. For

companies, Believe in Music week will still serve as a “market week”. A marketplace, facilitated by AI-matchmaking, will help brands connect buyers and sellers, to launch new products and demos and schedule and hold meetings with customers, including video meetings for those valuable face-to-face conversations.

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NEWS: SPECIAL REPORT How has NAMM been working with its members during 2020 to help them adapt? When the impact of Covid-19 came into focus in March, our attention immediately turned to helping NAMM members to navigate the crisis and to lobby elected officials in the US for Covid relief, especially for the hardest-hit businesses and individuals. This included access to additional PPP funds, long-term, lowinterest loans and supplemental unemployment insurance to assist the hundreds of thousands of creative industry service workers impacted by the pandemic. We continue these efforts today.

Can you let us know about NAMM members who have managed to adapt in innovative ways? While all NAMM members have been impacted by the pandemic, it seems that no two have experienced it in the same way. There are so many stories of resilience and innovation, as well as adaptation in the face of Covid, from members who completely revamped their manufacturing to make ventilators, masks, hand sanitiser and the like, to those who found new ways to conduct business through e-commerce. And while early indicators were shocking for all, many NAMM members quickly found themselves on the other side of the challenge with too many orders and had to revamp supply chains overnight. Listing any would be difficult; in my opinion, every company has absolutely been incredible, and Proand AVLpure Asia_228x154mm.pdf 1 2020/12/10 their creativity tenacity will be written about for years to come.

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How are you using AI to match buyers and sellers at Believe in Music week? In a way, the technology we’ll be using can be thought of as saving a few steps of walking around the Anaheim convention centre looking for the latest, coolest products. The user profile will get things star ted and, as the user inter faces more and more with the platform, it will “learn” more about your preferences and recommend new and interesting products and companies that you might not have ever thought of or run into on the show floor. From the platform, you can learn about the products and request more info and, for buyers, actually set up realtime meetings with salespeople. This technology will likely become something we’ll use from here on out to maximise the experience for a wider global audience in 上午 10:03:01to those attending future NAMM addition Shows in person.

We will also be honouring our members with the Top 100 Dealer Awards, the TEC Awards, She Rocks and a special Parnelli Award retrospective. We’ll also have really interesting content produced by our members around the globe. And since we can’t have a big concert out on the Grand Plaza, the two-day livestream will also feature a film by Yamaha about the incredible impact music has had on our world, especially during tough times like this pandemic. We’ll have all of this scheduled out on the Believe website, and I imagine people will want to use the platform’s scheduling feature to plan their time carefully, so much you won’t want to miss!

Can you tell us more about the performances and music-making projects for artists to showcase their talents and performances, and the potential to gather music What have you learned about your makers in a capacity not restricted organisation, your members by location? and the industry during this unprecedented year? Our vision for Believe in Music week, especially with the freedom of not being restricted to physically being in Anaheim as well as the choice to have some content prerecorded, was to be the online, global gathering to unite and support the people who bring music to the world and, with that, celebrating the intrinsic value of music – after all, that’s what connects all of us to this industry and to each other. We want this to be fun and interactive. I’ll be hosting the two days of Believe in Music TV along with many special industry guests and artists. We’ll have interviews, performances, some of the top educational sessions like a virtual Breakfast of Champions and Best In Show.

This crisis has brought our team and the music community closer, sharing and working together to make sure that music remains a vital part of our humanity, perhaps something that is seemingly more important than ever. I personally learned that as much as Zoom and Teams have been lifesavers, I really miss travelling to see our members in person, attending concerts and trade events and especially the amazing family reunions that occur at the NAMM Shows. I’m thinking of getting a new tattoo that says “Anaheim 2022”! www.namm.org

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NEWS: PROJECTS

Ayrton fixtures bring Turandot to life in Taiwan TAIWAN

A German/Taiwanese co-production of Puccini’s Turandot has been staged at the National Kaohsiung Centre for the Arts (Weiwuying) with designer and head of lighting, Chien-hao Kuo, replacing all the discharge moving lights of the original design with LED fixtures. Kuo selected 26 Ayrton Khamsin-S profiles supplied by Taipei-based theatre design and equipment rental company, Hispot Workshop. The designer had used Ayrton Khamsin-S on several operas in the past, finding them powerful and quiet. “Because opera singers perform without amplified sound, I was focused on methods of reducing the background noise in the theatre,” he explained. “Moving lights with discharge sources are notorious for having fans, the noise of which causes disturbance in this kind of performance. I knew from experience that the Khamsin-S is a very versatile fixture: it is fully equipped with everything you need, whether used as a spot or a wash, and has great gobo projection. Ayrton Khamsin-S can reproduce any picture in my imagination very rapidly, and I can

even use its graphic animation effects wheel to simulate various video effects.” Ayrton Khamsin-S created leading image effects for Kuo’s design, while the gobo flow was used to match the media content. “I kept the fixtures busy in colour changing, gobo rotating and graphic animation,” he said. “All functions were set to work for hours, and we

Busan venue insists on JBL

KOREA

With the foundation of a self-sustaining creative ecosystem, Geumjeong Arko Performing Practice Centre serves as both a practice and a showcase venue for local performing artists and cultural groups. Consisting of a grand practice room, two substantial practice rooms and two small practice rooms, the owners partnered with TechDataPS Co Ltd to create a high-quality and immersive audio platform for the facility. With a desire to maximise the design setup by offering the same space for both practice sessions and small performances, the client also specified the requirement to record and edit audio. The TechDataPS team was challenged to construct a flexible infrastructure and speaker system that would promote ease of configuration when changing the layout from horizontal to vertical when needed. Operating within a frequency range of 42Hz – 18kHz (–3dB), the inclusion of a JBL AM7212 full-range 12-inch loudspeaker system encourages venue flexibility, including a rotatable Progressive Transition waveguide that can be orientated either vertically or

horizontally. The low frequencies are extended down to 35Hz (–3dB) with the inclusion of a PRX818XLF 18-inch subwoofer system, while PRX812W enclosures serve as fills and floor monitor applications. Furthermore, the selfpowered PRX cabinets are equipped with Wi-Fi control allowing remote configuration of volume levels, eight-band parametric EQ and up to 50ms of speaker delay via the PRX Connect mobile app. Digital audio mixing is conducted on a Soundcraft VI1 console, with the intuitive interface and presets ensuring ease of use operation for the venue operators. The AM7212 cabinets are powered by Crown XTI6002 and XTI4002 amplifiers, while BLU-100 processors operate the setup without separate patching for seamless switchover and safe performance. The upgraded audio system reportedly provides stability, durability and ease of management for the team at Geumjeong Arko Performing Practice Centre.

never had to reset the system when the show was in progress.” Turandot’s stage set design included a semicircular cyclorama and central slope feature. “Because of these stage features, once the lights were rigged, it would be difficult to access them for any further readjustment,” continued Kuo. “We therefore decided that all the

overheads would be Khamsin-S moving lights because it is a very stable fixture. And once they were rigged above the stage, it was very easy to achieve both clean shutter cuts and smooth washes.” Because Ayrton Khamsin-S was brighter than the fixtures in the original design, and LED colours different from those in the discharge units, Kuo adjusted the intensity and colours accordingly. “In this production, digital media took up the largest proportion of the design, with the lighting forming a balance between the stage and video concepts,” he explained. “Khamsin’s electronic dimmer is very precise and allowed me to make fine adjustments that created a proper bridge between the two.” The wave-shaped, 3.3ha Weiwuying is the world’s largest single-roof performing arts centre. As well as being staged in this dramatic venue, the revival of Turandot had a simultaneous live broadcast on Weiwuying’s YouTube channel, allowing 50,000 people worldwide to enjoy the experience. www.ayrton.eu

Songcheng Group romances audiences with KV2 CHINA

Theme park group and performing arts company the Songcheng Group has chosen KV2 Audio sound systems for six of its 10 “Romance” theatres, most of which are situated in theme parks of the same name across the country. The group owns 74 theatres with a total capacity of 175,000, exceeding the combined amount of seats in London’s West End and on Broadway in New York. The Romance series of large-scale productions has more than 8,000

performances per year and an annual audience of over 35 million. Songcheng’s Romance theatres are highcapacity, Vegas-style venues that have been designed to host large-scale productions, with complex sets designed for maximum visual impact. Each show is specific to the region in which it is staged, re-enacting local cultural legends in song, dance and acrobatics. Songcheng Performance opted for KV2 Audio systems based around the flagship VHD Series of high-performance point source systems for the main FOH setup of the theatres, supplemented by the scalable ES Series for delays, surround sound and effects. The combination provides clarity and dynamic range, while the use of point source technology to cover large spaces has reduced the amount of loudspeakers and amplifiers required, saving space and money while reducing the visual impact of the system.

www.harmanpro.com www.techdata.co.kr

www.kv2audio.com

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NEWS: PROJECTS

Lectrosonics wireless mics take a hit in New Zealand explained Papworth. “We had UM400s on the backs of the kids’ safety helmets, and on one occasion we had a kid come up too fast under an obstacle and smacked the transmitter very hard. When it came back, the T5A and antenna connectors looked completely trashed. Yet it had powered through and we kept receiving audio.” The pair now plan to switch to the miniature SSM models for the helmets. Having worked on What Now?, the team was more than prepared for Brain Busters, with the show produced live each week from locations across the country. “It’s all live and the kids and hosts create chaos,” said Hartley. “This is where we’ve used the WM transmitters and they’ve been excellent. We have protocols to protect the equipment, but something always gets soaked. If you’ve seen people get

‘slimed’ on Nickelodeon, it’s that times a hundred, all the time. We have WMs on the children and the three hosts, and they’ve proven resilient to everything from submersion in slime to being mashed with cream pies!” Papworth and Hartley also work many outdoor shoots. “I recently did a shoot in Vanuatu for a Canadian production company, where we had everything from people out in canoes, long-range RF runs across beaches and hikes through dense native bush,” commented Papworth. “I just had a little SRC portable receiver in my sound kit with a couple of LT transmitters and was surprised at the range I got as the canoes paddled farther away. Following a local tribe through heavy native bush, I had complete faith in the kit I was using. The SRC can do a quick scan and quickly sync with the LTs in that environment.” The audio directors are also commissioned to broadcast live sports events. “Lectro is prevalent everywhere in NZ, which is testament to their per formance and reliability,” explained Hartley. “On the paddock, we mic the referees and we have up to six HH handhelds for our presenters. We also have two audio assistants walking the sidelines to capture the sound of the plays. Rather than use parabolic mics, we prefer to use shotgun mics with HMa plugon transmitters.” Last but not least, Papworth praises Lectrosonics’ audio quality. “We use radio mics everywhere we can’t run a cable. I’ve never had anything sound robotic or out of place. What we send to postproduction is always transparent. Lectro is pretty much superior to everything else in this regard. It’s as close as you can get to a wire.”

The physical nature of the obstacle course made wireless mics a requirement for presenters

www.lectrosonics.com

NEW ZEALAND

Based at Whitebaitmedia’s Christchurch studios, Brain Busters is a distinctive competition show that encourages children to do their best mentally and physically. Each 12- and 13-year-old contestant starts with NZ$100 and progresses through rounds of questions before running a physical obstacle course with the chance to win a total of $500. It shares its host, Chris Kirk, with another Whitebaitmedia production, What Now?, where the kids and hosts endure water, slime, foam cannons and whipped cream. For these shows and others including rugby matches, audio directors Mike Papworth and Steve Hartley use Lectrosonics Digital Hybrid wireless mics. Their inventory includes HH handheld wireless, HMa plug-on, UM400, SSM, LT and WM transmitters, a Venue modular receiver and SRC slot-mount receivers. “I

first came across Lectrosonics working with Steve at Sky TV in Auckland around 2006,” recalled Papworth. “It’s heavily used for sporting events and is the backbone of production in the entire country. It was very reliable even then, and we’ve grown to trust Lectro beyond anything on the market.” Brain Busters poses two main challenges: the sheer volume of contestants and the physical nature of the obstacle course. “Originally we were going to have wired mics on the four contestant podiums,” added Hartley. “That was impractical because we’re shooting five episodes a day. With the wireless we can pre-mic the kids, get levels and good RF, before they step onto set.” The frame of the obstacle course is made of steel trussing. “That would normally create RF problems but, with Lectrosonics, we’ve got it to where we have clear signal,”

www.tvnz.co.nz/shows/brain-busters

Bernama Radio upgrades audio processing with Orban MALAYSIA

With its old existing device having suffered failure, Bernama Radio has adopted a new audio processor from Orban. The purchase of the Orban 5500i was the result of weeks of research by the broadcaster and was installed at its KL Tower transmitter site in late November by local solutions provider JAA Systems Sdn Bhd. “We have researched and tested several audio processors available in the market, and we just felt the Orban 5500i audio processor is the best of them all,” commented Mohd Shukhairman Zain, assistant manager of Bernama Radio. “Even though this installation is small, it comprises one of the most crucial pieces of equipment. With experienced and knowledgeable staff from JAA Systems, we are ver y happy with the installation and outcome.”

The Orban 5500i ticked all of the broadcaster’s requirements, such as offering “superb” audio quality, a built-in RDS/RBDS generator, a powerful DSPbased stereo encoder and multiplex power controller. “Besides providing great audio processing quality, the Orban 5500i installed at Bernama Radio also compensated for the overshoot modulation from non-linear codecs and reduced multi-path distortion,” explained Kaartigayan Gunasegran, senior engineer of JAA Systems. “With this installation, it provides wonderful audio quality and a better listening experience to all listeners of Bernama Radio. We thank Bernama Radio for the trust in Orban and JAA Systems.” www.jaasys.com

Orban’s 5500i

www.orban.com

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NEWS: PROJECTS

AR performance at Golden Melody Awards is broadcast via AJA Video TAIWAN

The annual Golden Melody Awards (GMA), which celebrates musical talent across Taiwan, Singapore and Malaysia, has featured an augmented reality (AR) performance by Taiwanese artist, Hebe Tien. This was broadcast to viewers of the show on the Taiwan Television Channel, Line TV and MOD courtesy of the production crew at Getop and a host of AJA Video Systems equipment. Responsible for delivering the AR content to GMA’s production crew onsite, the Getop virtual production team developed a turnkey live AR system for the event comprising a Dell 7920 workstation, an

expansive range of formats and packs a ton of functionality into a 1U format.” All signals were routed through an AJA KUMO 3232-12G router, with an AJA KUMO CP2 Control Panel used for configuration and control. “Routing technology sits at the heart of the whole production pipeline, ensuring all of the audio and video sources in different formats are routed to the appropriate destinations,” continued Chou. “Given its important role, the reliability, flexibility and quality of the router you choose are vital, especially for such a massive live event like GMA, where there’s no room for error.”

Ideal Systems provides OceanStream with Sienna NDI engine SINGAPORE

Ideal Systems has supplied international live events company OceanStream with a Sienna NDI processing engine as a platform for its cloud-based live production services. The solution designed by Ideal Systems provides OceanStream with highly scalable, cloud-based multiviewers with a fully integrated vision mixer and intercom modules compatible with NDI and AES67. It enables traditional engineering tools like waveform monitors, vector scopes and audio metering, and the real-time, software-based NDI processing engine runs in an AWS (Amazon Web Services) cloud instance. “We chose Sienna’s NDI processing engine from Ideal as the backbone of our Cloud Production Fabric,” said Chris Arsenault, president at OceanStream. “The flexibility and scalability of the processing engine, combined with Ideal’s support and expertise, gives us the capacity to expand our services globally.”

The Sienna NDI platform has over 100 virtual modules including multiviewers, embedders, de-embedders, audio processing, frame sync, DAs, encoders, decoders, ARC, UDC, intercom and everything in between. The modules are linked together on a graphical layout in a web interface to form a live signal workflow. A drag-and-drop user interface allows creation of simple to complex and highly flexible and scalable workflows for live video and audio production. The solution uses Sienna Link low-latency video link technology allowing low-latency contribution feeds and confidence monitoring for cloud-based and remote edit NLEs. Sienna NDI supports multiple IP flavours and transports, including SRT, AES67, RTP, UDP streaming and RIST. www.idealsys.com www.sienna-tv.com

Japanese label uses Pyramix 25th for Dolby Atmos releases JAPAN

AJA Corvid 88 card for audio and video I/O, Pixotope and Unreal Engine. An AJA GEN10 HD/SD sync generator enabled signal synchronisation, while an AJA HD10CEA generated additional signals for the system. Both were installed in an AJA DRM MiniConverter rackmount frame. To fuse the AR portion of the production with the live event’s 1080i output, Getop needed a way to convert its AR engine output from 1080p to 1080i, choosing an AJA FS-HDR frame synchroniser and HDR/ WCG converter. “Even though this particular production was SDR, we opted for an FS-HDR, as it’s a Swiss Army knife for live productions like this, where you’re juggling multiple sources,” said Paul Chou, CEO, Getop. “We can easily manage four channels of realtime HD cross-conversion simultaneously, but also have the flexibility to work in HDR if future projects demand it. It also supports an

For monitoring and archival, the AR was recorded on an AJA Ki Pro Ultra 12G recorder and monitored with an EIZO CG319X Grade One monitor in SDR REC.709 colour. Getop used an AJA Hi5-12G mini-converter to convert the SDI signal from the KUMO router to HDMI for the EIZO monitor input. “Ki Pro Ultra 12G’s genlock-free, multichannel HD recording makes it possible to capture the output of our AR engine alongside other live production feeds like that of the OB truck and the camera, which is vital because the delay of each signal is different,” said Chou. “It’s also great for reducing our technology footprint onsite. The fact that the Ki Pro Ultra 12G and all of our other AJA equipment is also so cost efficient, versatile and reliable is also a huge boon to our work, as AR production can be expensive and complex.” www.aja.com

The Unamas record label has used the Pyramix 25th Anniversary version to work on 10 new titles mixed in Dolby Atmos. A Dolby Atmos workflow has been included on the latest version of Pyramix as many users who had amassed a considerable archive of multichannel music over the years were experiencing a growing demand to provide Dolby Atmos content. Like any major software enhancements, Pyramix 25th needed to go through a beta phase. Unamas did exactly this, using Pyramix 25th with the VAD (Virtual Audio Device) controlling a Mac-based Dolby Atmos production suite renderer via a Ravenna/ AES67 network, and it was encouraging when the process resulted in final productions. Since its establishment in 2007, the boutique label has produced high-resolution music, and has been making advanced 11.1 channel immersive audio productions since 2014. Label principal and engineer Mick Sawaguchi has won the Japan Professional Music Recording Award six times in recent years. Ten out of 18 immersive audio titles

have now been released on Amazon Music HD in Dolby Atmos, including J S Bach’s The Art of Fuge, Franz Schubert’s No 14 in D minor, Yuki Arimasa Plays Steinway D274 and Viva! Four Seasons – A Vivaldi Concert. www.merging.com

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A M

Spat Revolution used for Chinese immersive orchestral performance

CHINA

The Jinan Olympic Centre Donghe Stadium has treated its inaugural audience of 2,000 to the region’s first immersive orchestral performance, co-sponsored by the Ministry of Culture and Tourism and the Shandong Provincial People’s Government. The Yellow River Flowing Into the Sea concert featured a 160-piece orchestra, an 800-person choir and guest vocalists using Flux:: Immersive Spat Revolution. FOH engineer Yong Xu mixed the show on an SSL L500 console with L100 sidecar, integrated with dual Spat Revolution workstations running 8-core i9 computers, while OB engineer Wenzhao Ma ran a DiGiCo SD7 Quantum, also using a dual Spat Revolution system. MADI connectivity via MGB devices ensured full redundancy. “We used Spat on both the live and OB production,” explained systems engineer, Wenzhao Ma. “We divided the orchestra into 15 stereo stems and one mono stem to the FOH desk, and then flowed it into Spat using MADI. For the OB mix, I tried to put all the inputs into Spat, including functional channels like background music, ambient and audience mics. I used the acoustic simulation in Spat’s room effect to leave a little bit of early reflections, to give a sense of space.” The object-based FOH mix consisted of more than 20 stems from the SSL console, with Spat Revolution rendering the mix to the L-C-R system to provide imaging and acoustic simulation. At the OB position, a mix of 21 stereo stems and two mono stems from the DiGiCo console utilised Spat to render stereo, 5.1 surround and full binaural synthesis mixes.

The event was being recorded for release on Blu-ray, with recording engineer Jakob Handel specifiying DPA 4099 mics on the strings. “We found that using Spat added some natural depth and dimension to the strings; I didn’t even need to EQ,” said Wenzhao. “One thing that I love about Spat is the ability to easily reconfigure the channel setup. I will be presenting this recording to some of our clients, and I will be changing it to a 5.1 or 7-channel mix. Our team had the first application of Spat in China, and it is just the beginning. We have a studio in Beijing and we will create a Spat setup there. I have plans to use it for many upcoming projects.” www.fluximmersive.com

The show was Wenzhao’s first experience working with Spat. “The functions are powerful, and the sound is amazing,” he reported. “I really like the flexibility to be able to work in any configuration, even on headphones. Immersive and spatial audio is more than just a technical ‘trick’ – it enables us to improve and enhance the sound and the performance by adding dimension. Spat gives me the flexibility to show the composers what surprises are possible with their creations.” The technical team built a stage at the stadium – which usually hosts sporting events – and created rigs from which to hang the L-C-R loudspeaker system. Each column comprised six d&b audiotechnik GLS8 and two GSL12 boxes, with 12 SL-SUBs stacked in front of the stage. Two groups of SE Audiotechnik M-F3a side fills were processed in mono.

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NEWS: PROJECTS

AtlasIED FS-Series horns update Melbourne baseball stadium AUSTRALIA

Melbourne commercial AV integration firm Mozaix has designed and installed a new audio system into the Melbourne Ballpark stadium, selecting all-weather, multipurpose horn speakers from AtlasIED to cover 2,200 seats in the grandstand and additional seating on the surrounding lawns. For more than 30 years, the home of the Melbourne Aces baseball team had been using the same audio system, and attendance was dwindling. “The current system covered only 50% of the stadium,” said Mozaix director, Paul Tucker. “The listening experience varied wildly throughout the venue. The way the system had been originally set up, spectators in one area might hear next to nothing while those seated elsewhere might have their eardrums blasted.” The original loudspeakers also lacked the technology to broadcast music optimally, with the result that it usually overpowered broadcasts from spor ts announcers. Mozaix’s objectives were to provide full, even audio throughout the stadium, lawns, concourses, beer

for its recommendation, and consequently went with the FS Series arena horn loudspeakers. Inside they have a 12-inch woofer for handling low frequencies and playing music with warmth and emotion. Plus, their multipurpose design ensures excellent voice reproduction.” Additional bonuses included all-weather construction and a variety of flare angles, focusing audio on specific areas for enhanced clarity.

garden and baseball field; enough headroom to suppor t intelligible announcements from broadcasters; dynamic music and special effects to engage spectators; and strategic zoned distribution of audio. “We wanted the experience to be similar to what American college baseball and football stadiums deliver,” Tucker explained. “We contacted AtlasIED distributor PAVT

Using a 26m boom, Mozaix mounted three FS12T-94 boxes with a 90° x 40° dispersion range to the stadium roofline. “The ballplayers can hear the audio to engage with the crowd and feel the excitement of the game,” said Tucker. Spectators receive audio from four FS12T-99 boxes (90° x 90° dispersion) pointed down at the grandstands and out towards the sideline gardens.

Two shotgun microphones continually measure the noise level of the stadium. When attendance is light, pink noise automatically injects onto the audio system to simulate the sound of a larger crowd. When the ambient noise escalates, so does the audio level. When the stadium crowd cheers, an audio track of a cheering crowd plays through the audio system automatically. “This all occurs ver y naturally and goes undetected,” Tucker says. “I demonstrated this ef fect to the CEO of the stadium who commented that he immediately felt a dif ference in warmth and ambiance.” Mozaix also provided simple control and integration of audio with the Melbourne spor ts radio station. From the announcer’s booth, audio can be directed to specific zones, inputs turned on and of f and audio levels adjusted. www.atlasied.com

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Powersoft creates magic in Fairyland CHINA

EZPro has designed and installed a sound system powered by 20 Powersoft amplifier platforms from the company’s fixed install range at Ge’s Fairy Village Resort in Shangrao, Jiangxi province. The tourist hotspot is famous for its religious culture and natural scenery, and the installation is part of a new attraction, Lingbao Fairyland. A total of 160 Apart and Community loudspeakers were deployed across Lingbao Fairyland, made up of 136 high-Z and 24 low-Z systems. To drive this, EZPro used three Powersoft Duecanali 1604 DSP+Ds, four Duecanali 804 DSP+Ds, six Mezzo 602ADs, two Quattrocanali 1204 DSP+Ds and five X4 DSP+Ds, all Dante-enabled. “The original brief was to create a stable system with flexible signal connections, which was able to simplify the signal processing procedure a great deal,” said Weisong Wu, EZPro’s system designer. “We took Powersoft amps into consideration straight away, due to their superior functions and attractive price point, which were both important aspects in fulfilling the customer’s needs. The entire system is tuned and controlled by ArmoníaPlus. With the embedded HealthPlus capacity, it is very easy to check the entire audio setup

status, including loudspeaker impedance in case of system malfunction.” Wu singled out the attraction’s night tour as an area where the audio system is particularly important. The tour leads visitors through the Chinese folktale of Ge Xuan’s success in Taoism, immersing them in a vivid Taoist fairyland embodied by sound, light and physical

Korean cinema chain picks Alcons systems

KOREA

CGV Paju Yadang in the city of Paju is the latest cinema to be opened by CJ CGV, the country’s largest multiplex cinema chain and the fifth largest in the world. All five auditoriums offer comfortable recliner chairs and Barco laser projectors, with the main auditorium featuring an Alcons pro-ribbon system, specified and supplied by Seoulbased cinema specialist Yuyukorea. “We helped the customer with A/B demonstrations of different systems,” explained Yuyukorea’s head engineer Mr Kang, who installed the system. “They were very satisfied with the Alcons Audio demo, telling us that they loved the high frequency of the pro-ribbon tweeter and could definitely hear a cleaner sound than from other systems. They made an instant decision after the demo to choose the Alcons system.” The system comprises three CR4 largeformat screen systems for the main L-C-R

channels, with two CB362 18-inch highoutput subwoofer systems and 18 CRS8 medium-format reference surround speakers. The system is powered and controlled by two Sentinel3 and two Sentinel10 amplified loudspeaker controllers. “It is very rare in South Korea that an independent movie theatre chain chooses high-end audio like an Alcons pro-ribbon system, but the customer is very happy,” said Mr Kang. “It is not only the quality they feel and hear from the system, but also the response of movie-goers. Staff from other cinema chains in South Korea have visited CGV Paju Yadang to hear the auditorium with an Alcons pro-ribbon system and the client is actively considering using Alcons Audio again for his next project.”

structures. This section includes 19 viewing spots spread across the whole town, with one of the most visited spots on open grassland. Two Powersoft Mezzo 602 AD amplifiers power the 36 loudspeakers installed in this area, driving 18 speakers each – nine per channel – operating with a constant voltage of 100V to distribute 20W for each loudspeaker. “There are a few reasons behind the choice of Mezzo for that particular area,” continued Wu. “Firstly, Mezzo amplifiers are small in size but that doesn’t compromise the quality of the

sound. Secondly, it is quite cost-efficient as the budget of the whole project was an important consideration.” Wu added that the available Dante version of Mezzo amplifiers also makes the sound system more reliable. “The end user has spoken very highly of the system,” added Wu. “They were particularly impressed with Mezzo’s strong capacity and stability in such a small form factor.” www.ezprointl.com www.powersoft.com

Adamson chosen for APJ Abdul auditorium INDIA

A new 2,000-seat auditorium at the Dr APJ Abdul Kalam Government College in Daman has been outfitted with an Adamson sound system by the team at Effectron New Delhi. The new system was selected to provide increased vertical dispersion inside the auditorium without sacrificing high frequencies in the far field. The new setup comprises 18 Adamson IS7 line array elements and IS118 double 18-inch subwoofers. The Canadian manufacturer’s Point Concentric Series products have also been installed, with PC6 loudspeakers deployed as lip fills and PC8s deployed as under balcony delays. The entire system is powered by Lab.gruppen D80:4L amplifiers. “We’re very happy and proud to have been part of this project,” commented Effectron owner, Anuj Darbari. “The Adamson IS7 is so sleek and lightweight, it’s pleasantly surprising

to experience such impressive sound and clarity from the system. Not just that, the sound reproduction is smooth and pristine throughout the auditorium and the speakers blend seamlessly into the space. We worked with Nitesh Narayan on the design using Adamson’s Blueprint AV software, which helped us in finetuning the system. “Most importantly,” added Darbari, “the college management is absolutely delighted with the Adamson system. They loved its small size, unobtrusive appearance and the fact it looked so good in the venue. This is just the sort of application for which the IS Series is designed, offering amazing sound, easy installation and all in a compact package.” www.adamsonsystems.com www.sonotone.in

www.alconsaudio.com www.cgv.co.kr

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HIGH BRIGHTNESS BUSINESS PROJECTOR EB- L30000UNL

WORLD’S LIGHTEST & SMALLEST 30,000 LUMENS 3LCD LASER PROJECTOR. *

Presenting spectacular image quality with outstanding levels of colour brightness, the Epson EB-L30000UNL is among the world’s lightest and smallest 30,000 lumens 3LCD projector with 4K quality lens. It is extremely reliable with superior heat resistance and 20,000 hours** of maintenance-free use on its laser light source. Project any and every way you want with its flexible 360° rotation and adjustable tilt, and allow its variety of lenses to cater to all your projection needs!

IT’S IN THE DETAILS. 3LCD technology that delivers quality projected images and reliable performance. * Based on Futuresource Consulting. ** 20,000H life for laser light source: Approximate time until brightness decreases 50% from first usage. Measured by acceleration test assuming use of 0.04 - 0.20 mg/m 3 of particulate matter. Time varies depending on usage conditions and environments. Replacement of parts other than the light source may be required in a shorter period.

Images courtesy of Resort World Manila.

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Old console learns new tricks control other networked parameters, including microphones, signal processing, amplification and loudspeakers. Parallel compression has been added as a further operating mode for the existing compressor. Primarily used as a FOH or monitoring console, the mobile Aurus is

console. “Having successfully completed the first phase of the project, we are currently preparing for the second phase of the integration,” commented Stagetec Asia technical director, Tong Sing Leong. “These works will include Dante AoIP connectivity together with multitrack recording. Having

The Stagetec Aurus in action for live performances MALAYSIA

The Malaysian government broadcast training centres – Institut Penyiaran & Penerangan Tun Abdul Razak (IPPTAR) – have been providing professional courses in TV, radio and media broadcasting for RTM employees since the 1970s. Hosting musical events, the multipurpose hall – Dewan Cendekiawan – was recently refurbished. Having served RTM Studio 2 for over 10 years, a 24-fader Stagetec Aurus console has been relocated to this newly refurbished venue. The console may retain the same cosmetic layout to its technical operators, but appearances can be deceptive as Stagetec Asia has extensively updated the feature set with the latest firmware download. From the control inter face

The Stagetec Nexus and Nexus Star installed in the audio control room

A Zenon Media Cart Wall is used for song playlist selections of the Aurus, a 7.1 surround sound mix can now be applied. To maintain even audio distribution throughout the venue, the Aurus can also manage and

also used for training purposes from time to time. Also out of sight, the addition of Nexus and Nexus Star audio distribution networks serve to further enhance smooth operations and audio control configurations within the hall. In addition, Stagetec Asia has supplied a Zenon Media Cart Wall into the audio control room, allowing instantaneous playback of audio files through the Aurus

completed this phase within a tight time frame, our team focused on fulfilling our client’s exact specifications and requirements. Open communications and a full appreciation of IPPTAR’s evolving working practices serve to strengthen our working relationship with their team.” www.ipptar.gov.my www.stagetecasia.com

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League of Legends goes virtual with ROE Visual CHINA

The 2020 League of Legends World Championship has taken place in Shanghai, with Creative Technology (CT) supplying ROE Visual LED panels to create an immersive xR stage to broadcast the international esports tournament. The 10th edition of this annual tournament, like most major events in 2020, had to be reenvisioned as normally, the early stages of the tournament would be a travelling roadshow. With travel restrictions in place, and fans no longer able to attend matches, the team at games developer Riot commissioned LED technology from CT. The company used the same Unreal Engine-driven technology used to film Disney’s The Mandalorian TV series to create an immersive stage setup that changed themes depending on the stage of the tournament. This allowed matches to take place in a cloudy, cyberpunk Shanghai skyline or amid a flooded landscape. The Lux Machina team was commissioned with the VFX and xR work and, as the whole project was livestreamed, there was no time for tweaks or fixes. The background needed to be adjusted and coordinated live to follow the movements of four cameras. To build the xR stage, CT used three ROE Visual Black Pearl BP2 17m x 4.5m LED walls

A team of 40 artists and technicians realised the show, with Riot claiming that the LED walls, consisting of over 900 LED panels, displayed visuals at 32K resolution and at 60fps. “We’re proud to be involved with these League of Legends events, which are without a doubt the largest and most spectacular esports events happening at the moment,” said Grace Kuo, sales director for ROE Visual. “We’re thankful for the fact that CT trusts our products to use them on such a prestigious project.” www.roevisual.com

and a Black Marble BM5 17m x 18m LED floor to create a 3D immersive environment. Game desks were also built from BP2 using a total of 108 panels. LED processing was handled by two Brompton SX40 LED processors, including one for backup. “The fact that we could not allow a gap between the LED walls and the floor was a challenge, but the LED floor from ROE Visual is easy to level and very precise, so we were able to make a perfect joint between the walls and floor,” said project manager, Aron.

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NEWS: PROJECTS

Robe illuminates mountains for Parrtjima Festival of Light

they first had to isolate for 14 days. “It was just fantastic to be getting our hands dirty, putting up lights, running power and generally working hard at a festival doing the things we love that we once took for granted,” said Hansen. “It was also great to see the event unfold and be enjoyed so enthusiastically by the public. Events like this are a lifeline right now; apart from the much-needed cashflow, it’s the morale boost more than anything else.”

AUSTRALIA

The 2020 Parrtjima Festival of Light at Alice Springs in the Northern Territory signalled a welcome return to outdoor festivals in the country. Moved from its original April slot to September 2020, the 10-day event organised by the Northern Territories Major Event Company (NTMEC), and produced and curated by AGB, was possible due to the state’s Covid-19 management strategy. Parrtjima 2020 featured a selection of light artworks together with a nightly lightshow designed by Richard Neville from Mandylights, programmed and run on a grandMA2 console operated by Neville and delivered to a locally produced soundtrack. A total of 80 Robe MegaPointes supplied by Melbourne-based MPH Australia were used to throw lighting and effects onto a section of the West MacDonnell mountain range. MPH has worked in conjunction with Mandylights for the past four years to supply moving lights, LEDs and specialist fixtures. Twenty MegaPointes were positioned on each of four scaffolding structures positioned 1–1.5km apart, and between 250m and 400m away from the base of the mountains, with their light covering an area of around 2.5km along the mountain range.

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Additionally, 12 BMFL Spots were used on the park area and fairground at the festival site, which is traditionally covered by projected images and additional light sources. MPH supplied around 200 other luminaires for the event, including some Robe LEDWash 600s which were used inside a giant inflatable sphere projection sur face. Data to the fixtures was run via Art-Net and ACN, with the MegaPointes using a Ubiquiti point-to-point wireless Ethernet network comprising a central omnidirectional antenna located in the main desert park site and smaller nanobeams at each MegaPointe scaffold tower. MPH’s MD Matt Hansen and his team prepped everything at the company’s Melbourne HQ, then flew to Darwin, capital of the Northern Territory, where

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Absen installs 1,800m² of LED into Shanghai Hongqiao airport CHINA

A total of 1,800m² of Absen’s LED has been installed in the OXO City area of Shanghai Hongqiao airport. The centrepiece is a 700m² videowall at the airport’s exit, welcoming travellers into the adjacent shopping environment which features a further 40 screens arranged into eight cubes

displaying 3D video content. “The sheer size of the screens calls for displays with exceptional flatness,” said Absen sales manager, Ying Chen. “The content played on the screen is very immersive – especially the 3D portions – so the LED panels had to be flawless and offer outstanding image quality. Having been used successfully for numerous other prominent installations, Absen’s KL series has proved to be a perfect choice for its robust performance and stability.” Absen’s KL is a front and rear installation and maintenance product with a depth of 70mm, weighing 7.8kg per panel. It is an all-in-one product, incorporating power supply

units, cables and receiving cards to facilitate installation and maintenance. OXO City, which has an average daily passenger flow of over 500,000 people, was built to integrate business, art, culture, services, travel, office and other elements in one place to satisfy the needs of a diverse customer base. “Building a gigantic fixed indoor LED display in such as central place with a heavy passenger flow is challenging,” continued Chen. “OXO City has very strict regulations and restrictions, so the project had its share of challenges. During the actual installation process, for example, Absen’s team of engineers had to work together with experts and technicians from different institutions involved in this project, making a number of adjustments in the process.”

SSL’s Origin console

Damien Gerard is first Australian studio to install SSL Origin AUSTRALIA

The first SSL Origin console in the country has been installed into Damien Gerard Studios following its relocation to West Gosford in New South Wales. The console was supplied by SSL distributor, Amber Technology. “Once we had completed the move into the new larger facility, the old Soundcraft 2400 series console was our weak link compared to the quality we had elsewhere in our outboard and mic inventory, which had upgraded considerably with the move,” explained studio manager, Marshall Cullen. “My new business partner Jason Stenning and I began looking at

Cullen’s team is also appreciating the versatility of Origin’s foldback sends and auxiliaries coupled with the talkback and listen system, while the console’s new PureDrive mic preamp has proved ideal for the hybrid workflow. “We love the extensive foldback selection and talkback/listen options,” explained Cullen. “We have a nice old tube room mic up in the ceiling running into the listen pre and compressor, and it captures the entire room brilliantly. We’ve recorded that on a couple of drum sessions recently for that classic squashed room sound.

vintage consoles that might be available, but the economics of it didn’t stack up.” The choice proved a good one; since the studio reopened, it’s been busy with tracking, mixing and mastering, as well as hosting solo artists and voiceover sessions. The live room – which can accommodate 20 or more musicians – has also handled livestreaming sessions and live recording and filming for postproduction work. “Having the workflow of the console with 64 faders in front of you, the split paths and being able to fly different ins and outs where it’s needed has really helped those sessions,” said Cullen. “Also having an engineer on the left-hand side of masters and plenty more faders for a producer or assistant on the right-hand side has been a great boon.”

“Ar tist comfor t is our number one goal at DGS,” continued Cullen. “Having the flexibility of this board allows us to even better ser ve the singers, musicians and producers. The ease of use, monitor system and simple layout have all sped up our workflow and we already have great feedback from ever yone who has been in. With SSL it’s been extremely easy, smooth and professional all the way. The studio has always been busy, but it hasn’t had a downtime day since we turned the desk on, and that looks like continuing. We can also look at widening the client base into more corporate audio with the cleaner pristine path the board can provide.”

A further and even bigger installation at OXO City of 4,200m² of LED panels is scheduled for the near future. “The giant LED display is becoming more and more important in the infrastructure of the biggest cities in China and the rest of the world,” said Absen’s product director, Terry Zhu. “Absen is proud to be involved in this landmark project and, with 19 years of devotion to this industry, Absen has a wealth of experience in these high-end projects, as well as the confidence to fulfil every requirement our customers have.” www.absen.com

www.solidstatelogic.com

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Nova Entertainment strengthens its RF game with GatesAir AUSTRALIA

Giantstep selects Genie intercom system from LaON KOREA

A Genie LaON intercom system has been chosen by Giantstep, a creative media production company based in Gangnam, Seoul, for its VR studio. Giantstep, which produces feature films, commercials, music videos and television programmes, has carried out recent business expansion including state-of-the-art technology upgrades, and has set up a new VR studio. The company required a communications solution for directors at fixed locations as well as wireless communications for FD, camera, audio and lighting crew. Genie was chosen as it offers both key panel and wireless beltpack communications with a single base station, providing an efficient, scalable system without the need for a higher cost matrix system or a separate wireless intercom system that needs to be externally connected. Kyma Systems was in charge of the design, installation and implementation for all AV equipment of the studio, including Genie. The main Genie devices include a BS1000 base station, RA100 remote antennas for main studios, an RBS85 repeater for an isolated control room, three GRP8 key panels and 20 BP850 wireless beltpacks, with various headset and ear set models. As the studio is smaller than some traditional venues needing comms systems, such as arenas and stadiums, the end point devices needed to be well positioned and tuned in to the appropriate audio level within the limited space. This is where Genie’s PoE scalable IP-based system came into its own

BP850 wireless beltpacks while using multiple communication paths. Giantstep commented after the installation that the audio clarity is excellent and that they are happy with the large amount of beltpack connection channels. Early this year, Giantstep used real-time AR content for a livestreamed show, working with SM Entertainment’s K-pop stars for the Beyond Live concert during the global pandemic. This was the first time that AR technology was applied to a real-time, online concert in Korea that could be joined from mobile devices, and it was livestreamed to 109 countries around the world through Naver V Live. LaON believes that with productions such as these, Genie gives crew members the confidence of reliable communications at each position. www.kymasystems.co.kr www.laon-tech.com

Over-the-air broadcasters typically consider 15–20 years as a realistic lifecycle for the transmitter. While many perform well beyond this age, innovations in RF technology will typically encourage upgrades to reap new operational benefits. This was the case with Nova Entertainment, a nine-station FM radio network with six transmission sites serving the Adelaide, Brisbane, Melbourne, Perth, Sydney and Gosford communities. Launched in 2001, the original transmitters reached the 18-year mark when Nova engineers decided it was time to upgrade. Innovations in transmitter technology, particularly in terms of solid-state efficiency, maintenance and performance, have advanced in substantial ways over the past two decades. These improvements lead to reduced operational costs and improved audio quality, along with engineering advances such as IP control and monitoring. “We wanted solid-state transmitters again, but also needed a vendor with a more local presence,” said Matt Steadman, chief technology officer, Nova Entertainment. “That pointed us to GatesAir and its Flexiva FAX air-cooled transmitters, which has an in-country partner in RaeAir to handle installation, commissioning and ongoing service.”

Nova Entertainment earmarked Melbourne as the first site to upgrade, with RaeAir managing all acceptance, delivery, installation, testing and commissioning of the transmission systems. The logistics were further challenged by a move to a new tower site. Nova Entertainment shares space with several other radio stations, which meant nearly five months of advance work to bring the RF elements together. “Every radio station in the building is combined into the same antenna,” explained Steadman. “There is a lot of physical work related to combining the network and laying the copper rigid transmission line. Each station has to be plumbed in and powered up, and then the audio input equipment is mixed in.” The transmitter installations were achieved in a matter of days versus months. “Everything is modular, so we quickly accomplished the basic hookups of PA modules and power supplies, and connect

the RF plumbing to the racks,” said Alastair Reynolds, broadcast manager, RaeAir. “We installed all four transmitters and two switchbacks in about four days.” This modularity offers a long-term maintenance benefit, including hotswappable modules and power supplies while still on the air, without losing noticeable power. Reynolds confirms that the FAX remains at very near full power even with two module losses. “We can simply open the door, remove the failed power module and slide in the replacement,” he said. “This reduces the amount of maintenance we have to do, and all but eliminates downtime.” Steadman reports a very noticeable improvement in audio quality, attributing much of this to the GatesAir FAX exciter, which he claims as more accurate in terms of stability and superior audio transparency. “We also moved the complete linear audio paths at the new site, which creates a double-barrel improvement,” he said. “We have uncompressed links and brand-new digital exciters at the same time. We are no longer converting from Telco links, and we have plenty of bandwidth now using private IP links.” Steadman and Reynolds both anticipate upgrades to further streamline the distribution and transmission architecture. This includes adding enhanced and embedded services within core equipment that will eliminate some external, purposebuilt components. “We’re always looking for new ways to reduce links in the chain,” said Reynolds. “By removing extraneous components, we are reducing the points of failure. It also makes for a tidier installation overall.” www.gatesair.com

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NEWS: PROJECTS

ICVFX provides Australia’s first LED virtual production solution AUSTRALIA

Sydney-based Spectre Studios has joined forces with NEP Studios and Big Picture to create ICVFX – the country’s first fullservice LED virtual production solution for content creators, with Brompton Technology’s Tessera SX40 4K LED processor chosen for the studio’s LED virtual production workflow. “It made sense for us to approach NEP and Big Picture to see where we could help leverage their extensive experience and technical capability to help bring our concepts and research into a reality,” commented Spectre Studios’ technical director, Rick Pearce. “NEP had been developing an offering of its own and it seemed like the perfect storm to join forces to see what could come out of this partnership.” The team developed a range of content – from SimTrav [simulated travel], interior and exterior locations, as well as a range of sci-fi environments – to demonstrate what shooting a production on LED would be like. Four Brompton 4K Tessera SX40 LED processing systems, along with eight Tessera XD 10G data distribution units, were chosen to drive 13.5m x 4.5m of ROE

colour control and comprehensive image manipulation, coupled with quick easy tools like the OSCA seam correction feature. The advanced remote control options have also been a particular benefit to us in this workflow, given the current situation.” Added Pearce: “ACS [Australian Cinematographers Society] visited us to hold an information session and facilitate a hands-on creative session with some of the country’s best DOPs to provide them a playground as they explored the edges of what was possible. We hope the LED Volume with Brompton processing will have a permanent location here, as we see versions of virtual production becoming a mainstay in many film production workflows. With the many benefits it provides creatively, and the added bonus of being post-pandemic friendly, we’re confident ICVFX will be home of many exciting new projects. The Brompton Tessera SX40 processor is really helping us bring the content to life by offering ultrarealistic visual backgrounds that produce astounding results.”

Black Onyx 2.8mm HD-LED displays for the wall, as well as 46m2 of ROE CB5 LED panels for the ceiling and 20m2 of ROE CB3 panels for ambient lighting and as reflection screens. “Choosing Brompton was a no-brainer for us,” said Josh Moffat, business development at Big Picture. “The company has been our loyal partner and a perfect LED processing solution for years, with its Tessera processors offering exceptional

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NEWS: PROJECTS

Christie lights up Yellow River Tower CHINA

Christie laser projectors are being used for a new light show to promote the Yellow River culture and local tourism in Lanzhou. Activated two days before China’s 71st National Day celebrations, the 90m Yellow River watch tower is the centrepiece of The Great Lanzhou nighttime extravaganza, featuring 3D projection mapping, stage lighting, lasers, atmospheric effects and live performances that narrate the heritage of the Yellow River basin, referred to as the birthplace of ancient Chinese civilisation. The complex projection was designed and supplied by Christie’s distributor Zhongqing Yingye Group. A total of 32 Christie 1DLP and 3DLP laser projectors comprising DWU2022-HS and Crimson WU31 models have been strategically installed to deliver bright and colourful visuals on the Yellow River Tower’s eastern face in addition to the grand stairway and podium. The show was inaugurated with a light-up ceremony and storytelling sequence which entertained Lanzhou City government officials and other VIPs with a slew of lifelike projections. “We are proud to be involved in this landmark 3D projection mapping light show that

The Great Lanzhou

highlights the history, culture and development of the Yellow River and Lanzhou,” commented a spokesperson for Zhongqing Yingye Group. “Christie’s high-brightness HS Series and Crimson Series laser projectors, known for their long-lasting solid-state illumination in a rugged and compact chassis, are our top choices for this project. Equipped with powerful and easy-to-use features, they are well suited for demanding, large venue events and applications.” “We are delighted that Zhongqing Yingye Group has accomplished this amazing project in Lanzhou that aptly demonstrates the capabilities of our HS and Crimson Series laser projectors,” added April Qi, Christie China, Enterprise director of sales. “Christie’s 1DLP and 3DLP projectors are able to withstand the rigours of demanding, high-usage applications.” The same projector models have been used in other projects across China including the Guangwu Mountain Dreamscape multimedia show in Bazhong, Hutian Cave projection mapping show in Xuancheng, Nianhua Bay light show in Wuxi and Nanxun Old Town in Huzhou. www.christiedigital.com

QSC chosen for Adiparashakthi auditorium in South India INDIA

Systems integrator Theatre Concepts has supplied and installed an end-to-end QSC solution into an auditorium operated by the Adiparashakthi Charitable Medical, Educational and Cultural Trust (ACMEC). Established in 1978, ACMEC runs educational and cultural centres across the state of Tamil Nadu, among them the Adiparashakthi Agricultural and Medical Colleges, where a 1,200-seat auditorium hosts live per formances, spiritual gatherings and educational events. The system comprises 10 WideLine line array loudspeakers hung at each side of the stage, powered by a total of 10 PLD Series amplifiers. Front fill is handled by K12.2 active speakers on the stage lip, with fur ther K12.2s, together with K8.2s, as stage monitors. The house, control room and rehearsal room are interlinked via a Q-Sys Core 110f processor and I/O-8 Flex audio input peripheral, and a TouchMix-30 Pro digital mixer has been provided at front of house. “This auditorium is ver y wide, about 45m,” explained Theatre Concepts’ Harr y Mar tin, who designed and super vised the installation. “That’s the first thing that drove us towards the WL2102-w loudspeaker from the WideLine 10 Series, because it has 140° of horizontal dispersion. This helped us eliminate any blank spots from one side of any row to the other.” The PLD Series amplifiers were chosen for their compact size and built-in DSP. “We had ver y little space to put in power

The 1,200-seat auditorium hosts live performances and spiritual events

amps, just an alcove below the media pit,” continued Mar tin. “We were able to fit all the power we needed into just

one rack. Then there’s the DSP, which is designed to work with the WideLine loudspeakers.”

Another challenge was balancing audio coverage with visual aesthetics. “We didn’t want to place the arrays in the corners yet moving them too far towards the centre created an obstruction the client was unhappy with, feeling that the bottom cabinets would inter fere too much with the audience’s vision.” Accordingly, a delay system of four more WideLine 10s has been installed at the far centre of the auditorium, providing rear coverage and supplemental fill down the centreline of the room. A compact TouchMix-30 Pro handles mixing duties for live music events. “We might have 14 or more microphones at once, for star ters. Also, the client wanted a foolproof system and didn’t want to have a technical exper t on the proper ty at all times. When we showed them the TouchMix, with the recall for different scenes and the ‘wizards’ for setting up inputs and such, its ease of operation was one of the tipping points that convinced them to go with QSC for the entire system.” When officials at Adiparashakthi heard the system, the results spoke for themselves. “The client described it as a mind-blowing experience,” said Mar tin. “QSC has been my go-to since it was introduced in India about 10 years ago. I love the design, the reliability, the sound quality and the suppor t of the QSC team here. It gives me a lot of confidence.” www.qsc.com www.theatreconcepts.in

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NEWS: PROJECTS

Mahajak relaxes with JBL at Let’s Chill

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THAILAND

A new audio system has been designed by Mahajak for Let’s Chill Music and Restaurant located in Pak Kret in the Nonthaburi Province. The systems integrator was tasked with providing clear sound for both music and vocals and suitable for a variety of applications, selecting cabinets from JBL Professional.

The Let’s Chill Music and Restaurant is a stylish outlet designed to provide guests with a relaxing atmosphere and serves a variety of food and beverages. In addition to this there is also a private Karaoke zone that can be used for meetings and parties, with the largest room accommodating up to 20 people. Additionally, the restaurant comprises a stage used for concer ts and live per formances, as well as a 300-seat open-air ser vice area. The new audio system onstage can repor tedly deliver sound to all areas of the restaurant via a main loudspeaker system comprising JBL Professional VTX A8 line array loudspeakers together with VTX B18 subwoofers. JBL CBT1000+1000E and CBT70J-1+70JE-1 delay loudspeakers were installed in the middle of the room in order to enhance the sound, while power for all the cabinets comes from Crown VRACK

The Let’s Chill stage with VTX A8 speakers and VTX B18 subs 4X3500HD and 12000HD amplifiers. A Soundcraft Si Per former 3 console was also installed for audio mixing, with external wireless control possible from an Apple iPad. The new audio system supports both live music and DJ booth per formances, and Shure QLXD24/SM58 microphones support activities at both the stage and DJ booth.

“The customer is extremely satisfied with the sound system, especially the outdoor stage area,” commented a spokesperson from Mahajak. “We are proud to be involved in this project. This will be the most up-todate sound system in this area.” www.mahajak.com pro.harman.com

Brisbane’s Le Bain equipped with Martin Audio CDD AUSTRALIA

Systems integrator Ampd has installed a Martin Audio CDD system into the new 15-storey Le Bain apartment complex in the Brisbane suburb of Newstead. The development features eight penthouses and a private rooftop pool as well as a heated pool, spa baths, sun deck, sauna, gym, private dining room, barbeque and alfresco dining area. “The stylish and discreet design, coupled with consistent audio coverage, made the CDD range the perfect option for Le Bain,” said Ampd’s Matt Hayes. “The feedback from the owners has been great and they are ecstatic with the sound quality and SPL levels that can be achieved.” This is the second rooftop installation that Ampd has completed for property developer, Cavcorp. “We have a deep understanding of the high level of innovation and excellence they expect on their projects,” continued Hayes.

A series of CDD6 and CDD5 speakers, including weatherised versions, has been installed under QSC Q-Sys control to create a seamless audio experience across the

CDD6s and CDD5s in the gym

Weatherised speakers around the pool

complex. Custom speaker brackets assist in delivering even sound coverage while also ensuring clean visual lines. Seven

CDD6-WR and CDD5-WR weatherised speakers have been installed around the pool and sunbed area, with a pair each of CDD6s and CDD5s located in the gym and private dining room, respectively. A custom touchscreen UCI has been installed in the private dining room and rack, giving residents and building managers control of the system, and custom control has been provided for each individual zone. “We were able to deliver a high-quality, integrated and seamless audiovisual system that complements the Frenchinspired rooftop oasis in Newstead,” concluded Hayes. “Our deployment of Martin Audio’s versatile CDD series unifies both the indoor and outdoor spaces to create a unique experience that transports Le Bain residents to the South of France.” www.martin-audio.com

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NEWS: PROJECTS

d&b audiotechnik A-Series chosen for Perth nightclub

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A d&b audiotechnik A-Series has been installed into Perth’s Magnet House nightclub. The venue underwent three months of redesign and construction before the pandemic scuppered its opening plans. However, Magnet House turned to livestreamed DJ events during lockdown, and has now been able to open its doors to clubbers. The d&b A-Series was chosen to work alongside the club’s Pixel Kinetic Ceiling, a kaleidoscopic LED display. With the help of CCA Productions and NAS Solutions, the nightclub decided on d&b audiotechnik to accomplish this ambitious goal. However, delivering this project came with challenges. “The venue presented a pretty challenging acoustic environment for our team to work with,” said Luke Willott, director and live audio specialist, CCA Productions. “The room has an irregular shape, with lots of glass, steel and other reflective surfaces that we had to take into consideration along with the aesthetic appeal that the venue was going

for. We had to exceed the owner’s vision and expectations for this design, which meant that the sound system had to sound and look perfect.” The d&b A-Series augmented array loudspeakers are designed to provide flexibility in medium-scale applications and can be paired with a variety of d&b amplifiers and subwoofers to meet the specific needs of each venue. “We have already received amazing feedback from the EDM and band community on the new sound solution,” continued Willott. “The combination of the robust low/mids with a well-balanced HF, even and directional VLF distributed across all listening planes, plus the venue’s captivating visuals make visiting Magnet House a feast for the senses. To take this venue to the next level, we are eagerly waiting on the arrival of the d&b 40D installation amplifier to add even more depth to this sound design.”

Xilica provides “simple and intuitive” audio routing for HKUMed HONG KONG

A large renovation at Hong Kong University’s LKS Faculty of Medicine (HKUMed) has included the deployment of Xilica Solaro QR1 DSP and XTouch control solutions to provide audio distribution and live paging over IP in the department’s William MW Mong Block. Supplied by Sound Classy with systems integrator Vega Technology handling all installation and commissioning, the Xilica solutions are used to process, manage and deliver all content over a Dante network. The Dante-enabled Solaro QR1 interoperates other networked devices to route audio feeds around the building. A priority function allows staff to interject with live announcements, using a paging station to provide safety and building information, event updates and security messages. The QR1 DSP was selected mainly for its reliability and scalability on Dante networks, and an open-architecture design that simplifies interoperability with all third-party systems in the ecosystem. That includes the ability to manage analogue signals on the output using Solaro XC-SLO modules, which will be used

for audio recording purposes in an adjacent control room. All Xilica devices, including an XTouch 80 control touchscreen, are powered over Ethernet to minimise cabling costs and infrastructure. Justin Fong, account manager at Sound Classy, emphasised the value of the XTouch control solutions. The IP-based architecture synchronises control across the XTouch 80 panel, installed in the adjacent control room, and an XTouch app that lives on an iPad in the lobby. The two operate and respond in tandem to ensure a seamless audio experience. “The open architecture of Xilica allows users to easily route Dante audio signals to the speaker system, and otherwise control volume, mute audio and generally manage the system settings,” said Fong. “Their software is intuitive and responsive, which makes for a very simple and convenient operation for end users of any skill level. The Solaro QR1 DSP keeps everything perfectly timed and sounding intelligible throughout the day.” www.xilica.com

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The lobby at the William MW Mong Block

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NEWS: PROJECTS

Aurom adds second Genelec immersive studio INDIA

Aurom Post Sound has added a second immersive mix room to its Mumbai setup, again installed with Genelec Smart Active Monitors. “With customers impressed with the kind of performance we were getting from our first immersive studio, we decided to upgrade our original 5.1 room to a 7.1.4 configuration,”

explained Acharya. “These monitors were suggested by both Dolby and Sound Team in accordance with the room size, so that we can work on both theatre mixes and OTT platforms. We are absolutely happy with our monitoring chain.” With the solution designed, installation using Genelec’s GLM calibration software

Big Picture delivers live-to-air xR broadcast AUSTRALIA

explained Aurom’s owner Akhilesh Acharya, also a sound designer and mix engineer. “That would mean we would have two rooms with Genelec 7.1.4 monitoring that can both offer multi-format postproduction.” Genelec’s Indian distributor Sound Team worked with acoustic consultant Ajay Kumar PB and the local Dolby team to ensure that the room would offer translation between the studio and movie theatre, as well as meeting Dolby’s exacting standards in a challenging space. The facility’s first Atmos studio used 8240A monitors and a 7270A subwoofer for the 7.1.4 configuration but, due to the size of the second room, a different solution needed to be found. “For the new room we are using 8340As as L-C-R, with 8330As for surrounds and overheads plus a 7370A subwoofer and 9301A multichannel AES/EBU interface,”

took just five days from cabling to commissioning. “We were impressed with the way GLM’s auto calibration works, and gets you very accurate results,” continued Acharya. “The ability to then manually tweak after the AutoCal stage really gives a lot of flexibility to the person calibrating the room. We have also made different setups in GLM so that we can switch at any time between presets for a 5.1 film mix, theatrical Atmos, OTT Atmos and stereo too. For a mix room everything is results oriented. It’s all about translation. We have found a high-performance product with very good reliability, and we are happy with our purchase of Genelec monitors.” www.aurompostsound.com www.genelec.com www.soundteam.in

When Fox Sports in Australia had to rethink its Dally M awards show during the pandemic, the broadcaster turned to Big Picture for inspiration. “We still wanted to have a big auditorium feel but we didn’t have the budget or resources to shoot something like that in reality,” said Paul Slater, senior producer at Fox Sports.

a virtual big screen fed from a mixture of disguise timeline and external EVS feeds.” Five disguise gx 2c servers were used with a Lightware HDMI 2.0 matrix and a Ross Ultrix SDI matrix for failovers. Stype RedSpy camera tracking devices were mounted on all three cameras, one studio pedestal, a jib and one Stedicam. The Stype RedSpy figures out where

“The decision was taken to use xR broadcast technology even though the awards were live to air and this had never been done anywhere in the world.” The event took place at Fox Sports in Sydney where the main studio setup comprised a 12m x 3m ROE Black Onyx 2.8mm LED wall integrated into the disguise xR workflow. The seamless extension of Big Picture’s real-world LED screens to the virtual world environments was handled by disguise’s xR multi-camera registration workflow, allowing switching between camera perspectives and the LED content. Three Panasonic 4000 camera chains ran a 1080p workflow then integrated downstream into Fox Sports 1080i transmission path. Big Picture’s UHD-2 PPU system with a Ross Ultrix and Carbonite Ultra was at the heart of the system managing routing, monitoring and conversion. “Two Panasonic AW-HD150 UHD PTZ cameras were in clean zone studio green screen to bring players into the main set virtually to interact with hosts,” added Josh Moffat, special projects and business development at Big Picture. “There were virtual objects in real time in the 3D scene such as the leader board, player profiles and

the camera is in 3D space and where it’s pointing – its position, angle and field of view. The Notch programming and integration was executed by Ryan Sheppard based in Canada. Sheppard was in communications in real time for rehearsals using a low-latency multiview stream and Clear-Com Agent-IC for communications. He was then connected with remote desktop to the Notch file onsite, making changes as required. “We used Notch to render the 3D word designed by Fox Sports in real time,” commented Sheppard. “Performance of the Notch scene was of utmost importance for a live-to-air, multi-camera xR broadcast as there was no tolerance for dropped frames. We were able to achieve this level of performance by using a strategic combination of baked and unbaked textures that allowed for some dynamic elements while maintaining maximum performance of the scene.” The setup also ensured safe working practice as disguise xR avoids non-essential contact, mitigating the risks posed by traditional approaches to filming immersive visuals which would involve high-level, real-time in-camera shoots, green screen and other VFX. www.bigpicture.com

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NEWS: PROJECTS

C liv

TiMax automates new Hong Kong musical production HONG KONG

Out Board’s TiMax TrackerD4 precision stagetracking technology has made its debut in a new musical play, The Originals, staged at the territory’s Hong Kong Cultural Centre, giving real-time control of vocal localisation throughout the fast-paced staging. Provided by TiMax distributor L-Supply, TrackerD4 enabled the principle eight performers, all stars of Hong Kong musical theatre, to move freely around the stage without working strictly to pre-assigned cuepoints. Small and discreet TTd4 Tags can be secured into virtually any costume, reducing rehearsal times and offering the possibility of saving on production costs. Four TTd4 Sensors installed among the overhead stage lighting rig gave full coverage of the actors’ movements. Multiple sensor viewpoints provided redundancy, as only two sensors need to see a tag to activate 3D tracking. The system’s dual-mode ultrawideband RF scanning uses hybrid AOA and TDOA technology, providing flexibility and helping mitigate any tracking errors caused by reflections, body blocking and scenery obstruction.

TiMax used for The Originals “The TTd4 Sensors were so easy to install that, with the theatre’s audio team, we were able to move sensors a couple of times to achieve the best tracking performance,” explained L-Supply’s Omega Lam. “When all eight actors sang together, the audio team

was very impressed with the headroom we created and the clarity of each individual voice as they moved around the stage.” Sound designer Candog Ha Yan-pui specified TiMax TrackerD4 to control separation of vocal mic inputs being fed

Verity shines across the Summer

The Phuc Thanh Audio team installed Verity Audio IWAC 220 systems into five venues VIETNAM

Often referred to as the gateway to the south, Vinh is the largest city of Nghệ An Province in north central Vietnam, with over 500,000 inhabitants. Having suffered widespread architectural destruction during the 1950s and 1960s, the largely rebuilt regional centre now boasts the ornate Summer Convention Centre at its heart. An audio system was required for speech announcements and live music in the newly built 7,000m2, building, primarily designed as a conference and wedding venue. Following tender bid applications, Phuc Thanh Audio was awarded the contract to equip three large halls and a divisible convention hall with Verity Audio loudspeakers.

The Convention Centre comprises six IWAC 220s and 118TL subs in four arrays Three halls from 800m2 to 1,300m2 in size, primarily for use as wedding venues, have

been equipped with eight IWAC 220 line array cabinets. Suspended from the ornate 3.5m ceiling in four per side configurations, the dual 10-inch speakers operate within an 80Hz – 18kHz (–10dB) range, providing 120° dispersion across each room. Lower-frequency extension to 28Hz is provided by two groundstacked SUB218 dual 18-inch subwoofers in all three halls. In addition, the two larger halls are boosted by a pair of arrayed 118TL single 18-inch subwoofers. Powered by Verity Audio V4.25 4x 2,100W (4Ω stereo) and V4.30 4x 2,300W amplifiers, stored DSP management settings can be recalled remotely from a DSP428 controller via the

into a d&b Soundscape processor and multichannel speaker system. She explained that she chose TrackerD4 automation to achieve natural and realistic voices from the actors, and gain fluidity and precision over the potentially arduous task of cue blocking. The Originals is a compilation of numbers from Hong Kong’s most popular musical shows created between 1970 and 2000. The production, which has enjoyed a run of sell-out performances, was put together by award-winning composer, Leon Ko, who also took the role of musical director. The music was performed by the Hong Kong Sinfonietta, positioned directly behind the stage and performers. www.outboard.co.uk

LAN connection. Musicians and speakers can monitor their performances with Verity Muse12 12-inch speakers. The convention centre can be partitioned into two 1,300m2 halls to host separate events to cater for high demand. Each partitioned 5m-high room is equipped with L-R arrays comprising six IWAC 220 cabinets and a single 118TL per side together with four groundstacked SUB218 subwoofers, all powered by V4.25 and V4.30 amplifiers. Live performances are mixed on a Midas M32 console, with 16 Muse 15 speakers available as stage monitors. Incepted in 2008 and headquartered in Ho Chi Minh City, Phuc Thanh Audio specialises in the design and installation of loudspeaker systems in KTV, bars, clubs, lounges, hotels and hospitality venues throughout Vietnam. “Following the initial ground-breaking ceremony, the Summer Convention Centre took just 12 months to complete,” commented CFO and deputy general director, Phuc Thanh. “Therefore, all the contractors had to work very diligently and quickly to complete their works on time. “We recommend the Verity Audio IWAC 220 line array system for many larger applications. This versatile yet affordable loudspeaker is easy to set up and delivers clarity, depth and intelligibility. The compact design promotes precise sonic imaging and minimises group delay, while the wide 120° horizontal coverage makes it ideal for medium-to-large events. During the commissioning, Summer Convention Centre general manager Jerry Nguyen expressed his satisfaction with the audio quality and is looking forward to hosting full 7,000seat capacity audiences in all five venues.” www.phucthanhaudio.vn www.verityaudio.com

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NEWS: PROJECTS

CCTV’s CPEC adopts Clear-Com for live social media broadcasts CHINA

Clear-Com’s HelixNet digital network, LQ IP Series interfaces and Agent-IC mobile intercom app have been adopted by the New Media Department of CCTV Pioneer Media & Entertainment (CPEC). Owned by China Media Group, CPEC is the largest public service broadcaster in China, and the Clear-Com equipment is being used to communicate between stations and onsite camera operators for live broadcasts on social media platforms. The system was provided by Clear-Com partner, Beijing CRT Technology Co. With the assistance of Paul Wu, Clear-Com’s Beijing-based applications engineer, and Haoran Zhai, technical engineer for Beijing CRT Technology, CPEC’s New Media Department used the new system for a remote production at the Beijing World Art Museum for an art exhibition about the historic Mogao Caves in Dunhuang, China. Some team members were located at the museum, while others remained onsite, but the two locations needed to communicate as if they were in the same room in order to produce a successful live broadcast across social media. The members at the exhibition had all downloaded the Agent-IC app onto their mobile devices, while the HelixNet digital main station, three desktop portable remote

stations and three LQ Series devices had been deployed in CPEC’s Media Centre. HelixNet connected to the three LQ devices via secure LAN, WAN or Wi-Fi, which enabled all fixed points to communicate with the 24 remote Agent-IC users. “If they need to be producing four programmes at once for their social media platforms, they can have a channel for each technical director – one at each fixed point – who can then communicate with six remote Agent-IC users, while the other technical director communicates with their team of six and so on, without any interference,” said Zhai.

LQ can be deployed as an individual wireless solution in a given communication zone by connecting the LQ’s IP port to a wireless router, creating a wireless LAN. Users are then provided with full-duplex, two-way interconnectivity between Agent-IC mobile apps within a Wi-Fi covered zone. Additionally, communication between wired analogue devices and wireless Agent-IC mobile devices can be achieved by connecting a partyline main station to the LQ interface’s two-wire port, as was done in the remote production at the Beijing World Art Museum. Technical directors can then be provided an analogue main station or Agent-IC for communication.

“The Clear-Com system has greatly contributed to our live broadcasts for social media, and the new equipment also allows our other diverse activities to operate smoothly,” concluded Zhai. www.clearcom.com

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NEWS: PROJECTS

Winly stages first Asian post-Covid arena shows with Eric Chou TAIWAN

Having worked with Eric Chou on his first concert in 2019, Winly Engineering & Trading was reunited with the star in the familiar surroundings of the Taipei Arena. The L-Acoustics global rental network partner designed and supplied a K1 and K2 loudspeaker system for a socially distanced concert for the Taiwanese artist at the 10,000-capacity Taipei International Convention Centre (TICC).

so thousands of fans could again experience a truly spectacular live show.” Lee and Lai planned a design to ensure consistent coverage, frequency response and sufficient SPL, measuring the system’s STI to attain the vocal intelligibility required for the star’s ballads. The system comprised of main L-R hangs of 12 K1s, topped with four K1-SB subwoofers and four K2s for near fill coverage. Four ground stacks of four KS28

Arabica and Artec blend enhances D&K’s vocal range VIETNAM

L-Acoustics’ K1 was chosen as the main speaker Demand for live music was clearly demonstrated when Eric Chou’s 2020 How Have You Been? concerts – four shows in Kaohsiung and Taipei totalling 42,000 seats – sold out in 15 minutes. “It was an absolute pleasure to be working with Eric once again on what became the first large-scale live event in Asia since social distancing measures were introduced,” said Winly systems engineer, Mike Lee, who has contributed to the system design of virtually every concert at the Taipei Arena in recent years. Andre Lai, head of sound crew and monitor engineer, used L-Acoustics’ Soundvision to design and configure the system. “We really appreciate how Soundvision helped us with the design, as well as the implementation stage,” he said. “Not only did it make our work much quicker, it also delivered a highly accurate simulation of the system performance. Taipei Arena represents the pinnacle of Taiwan’s entertainment industry. With these concerts, we had a deep sense of responsibility to deliver an event like no other,

Coffee production has been a valuable economic force in the country for many years. Having acquired a taste for coffee from the French, Vietnam has evolved this growing business by adding BGM and live music into outlets. While most visitors acquaint themselves with the local trend for iced coffee or cà phê đá rather than espresso, D&K Karaoke-Coffee is further stimulating its patrons with added SPLs originating from Spain courtesy of DAS Audio sound systems.

appease interior designers who demand a discreet appearance for their creations. For D&K Karaoke-Coffee, two Artec-320 enclosures have been installed in two clusters on each side of the main room. Capable of producing a maximum SPL of 132dB (–10dB), the dual 10-inch line arrays are supplemented by dual Artec-322S dual 12-inch bass-reflex subs in the centre, providing low-frequency enhancement down to 37Hz (–10dB). Ensuring even dispersion throughout, six Artec-315.96

Located in the Mekong Delta, the town of Bac Lieu caters for large numbers of daily tourists with its lively assortment of entertainment outlets. As one of the largest venues in the southern part of the country, D&K KaraokeCoffee has extended its appeal beyond coffee mornings by encouraging its fully charged patrons to sing into the small hours. Recently, the venue’s owners called upon karaoke specialist and systems integrator Tân Dung Company to upgrade the audio systems throughout. Following loudspeaker evaluations, the technicians opted for various DAS Artec-300 systems supplied by Viet Thuong to be installed into a total of seven rooms. Combining full-range audio performance with aesthetics, Artec was initially created to

15-inch enclosures supplemented by a pair of Action-218S subwoofers serve as rear fills. A further six rooms, all varying in size, required audio reinforcement. Each unique space has been upgraded accordingly with Artec-312.96 and Artec-315.96 models. DAS Audio PA-1500 dual-channel amplifiers provide both power and DSP throughout to this passive loudspeaker system. Adequately impressed with the price performance features provided by the upgrade, the owner has contracted Tân Dung Company to install another 17 D&K Karaoke-Coffee hotspots over the coming months with similar DAS Audio systems.

dual 18-inch subwoofers were evenly spaced in front of the stage, with four Kara modules positioned on top handling front fill. Two hangs of six K2s per side, slightly behind and outside of the main hangs, provided side fill, while two hangs of six Karas extended coverage towards the rear of the arena. “That night, we felt the heart of the events industry in Asia start beating again,” concluded Lee. “If there was any thought that the appetite for live shows was diminishing, it was turned to dust with the energy and excitement of thousands of fans who all came together to celebrate live music. Thanks to L-Acoustics, we were able to deliver this significant event and, in the words of Chou, there is no feeling more rewarding for a composer than to say ‘da jia yi qi chang!’ – ‘let’s sing together!’ in Mandarin – and then for everyone to join in. After nearly half a year, it was magical to be part of that experience once again.” www.l-acoustics.com www.winly.com

The performance was brought to life by L-Acoustics’ K Series

www.dasaudio.com

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NEWS: PROJECTS

Ross Video upgrades TV studio at IGC KOREA

Ross Video has supplied an updated equipment package for the in-house TV studio at Incheon Global Campus (IGC), a national project established by the government and Incheon Metropolitan City to nurture the next generation of global leaders in the fields of education, economics, industry, culture and arts. IGC chose a full Ross package that comprises the Carbonite production switcher, XPression graphics platform, Tria+ production server, Cambot camera motion system, Inception newsroom computer system and Streamline media asset management, automated by Ross’ OverDrive solution and custom-designed configuration. Control is handled via DashBoard touchscreen panels. With an investment of US$1 billion, the global campus will eventually host 10 of the world’s prestigious universities, with each student studying at IGC to earn the same degree as their counterparts at their “home” campus. Given IGC’s focus on the arts, the in-house TV studio has been a popular asset used to create campus news shows, as well as entertainment and drama shows as part of student courses. The team looking after the studio decided late last year that the time was right for a refurbishment, and Ross was brought in to advise.

IGC students “We are incredibly pleased with the final project,” said Hyunmin Lee, manager of the IGC Foundation. “This is now a one-stop production environment that helps campus students and users improve their operational efficiency. This has been our first experience of Ross products, but we set out to follow the standards and production processes used by famous broadcast stations in the USA, as well as other universities. I’d particularly recommend the Inception NRCS

system – it enables many people to work on the news at the same time, so we can divide up our jobs and work efficiently while also expanding our capabilities. We are continuing to learn the possibilities of the system and it’s very satisfying to see the quality of our shows improving every week.” Mark Cooke, director of sales for Asia at Ross, sees an increasing focus on competitiveness in the education sector. “Further education institutions are having

to work harder to attract students and equip them with the skills they need to succeed in the media industry,” he said. “Outdated products and last-generation technologies are not good enough – colleges and universities need to train students using the latest platforms and toolsets, and we’re delighted to be supporting IGC in this respect.” www.rossvideo.com

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FEATURES: LEISURE

L–R: A

The ‘G force

d&b V

A total of 30 d&b V- and Y-Series arrays are suspended from the roof of the MCG

The MCG’s upgrade will be enhancing audience experience once a return to the stands is permitted. Richard Lawn reports on changes at the world-famous Australian sports ground THE BIGGER THE VENUE UPGRADE, THE GRANDER THE expectations, challenges and pitfalls associated with them. The Melbourne Cricket Ground (MCG or the ‘G) was upgraded with a full-range audio solution in time for the 2006 Commonwealth Games, suffering subsequent exposure to the extreme seasonal weather ranging from freezing winter winds roaring off the Southern Ocean to baking hot summers. Like the cricket, football and rugby fans who flock to the venue, it is also required to resist the elements. To maintain the MCG’s status in the competitive Australian stadium market, a weatherised PA audio replacement was warranted that would significantly enhance the audio experience across the 100,024 seats. Accordingly, the Melbourne Cricket Club (MCC) committee pledged an A$25 million investment to improve the stadium experience for fans. Having successfully overseen the audio upgrade for the Sydney Olympic Stadium in 2013, Auditoria director Scott Willsallen was invited to discuss his ideas with the MCC some 12 months later. “For the Olympic Stadium project, I really wanted to demonstrate a working example of what immersive stadiums can sound like,” explains Willsallen. “When the open tender was disclosed, my colleague and senior consultant Luis Miranda and myself travelled to Melbourne for meetings with each department of the stadium. These included operations, assets, general management, venue management, event management and all the other factions constituting the

stadium business. It was not a formal interview and, as such, we were not sure whether we’d done well or not.” However, the meeting signalled success for the Miranda– Willsallen double act. Together with the appointment of Diversifed (formerly Rutledge AV) as the head contractor for the vast systems integration, the pair would form a formidable off-field team. From initial tendering to final commissioning, the timescale of less than 18 months would severely test the experienced Diversifed team. “To push through that sort of revenue in a short period of time was always going to be a challenge,” recalls Diversified project director, Matt Edgcumbe. “In terms of size, the Melbourne Convention Centre was similar, but that was spread out over three years rather than 12 months, so it was a very tight timeframe.” Auditoria’s vision was to provide the best audio to every seat in the house. Miranda and Willsallen carefully considered every facet of the audio journey in the finest detail, from the moment fans enter the gates, stroll through the concourses and bar areas and ultimately take their seats in the bowl. Willsallen is the first to testify that the works conducted at the MCG were no ordinary upgrade. “The directive of the MCG board was that the audio would enhance the fans’ experience to create an exceptional game day by connecting the fans with the on-field excitement and drama,” he explains. Having adopted a Smart Stadium Strategy seven years prior to the upgrade, the MCC had been actively measuring

L–R: Auditoria’s Scott Willsallen, Justin Arthur and Luis Miranda

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the fa PR sp says 100,0 at on other, as en Wills was g stadiu match poten of the quite either home peopl To e by att happe a bar they’r to rem additi when Is it e espec simpl all the be co Hav simul one o 200,0 simpl use n wedd other close

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FEATURES: LEISURE

L–R: Auditoria’s Justin Arthur and Scott Willsallen considered every facet of the audience journey

d&b V- and Y-Series modules await hoisting up to the roof the fan engagement and experience. “This was not empty PR speak – it was a consistent theme in every meeting,” says Willsallen. “The audio would need to communicate to 100,000 spectators, so intelligibility was key. If you’re sitting at one end of the MCG and the action is occurring at the other, the stadium’s audio has to transmit information as well as entertainment.” Willsallen’s other concern for the MCC was how the venue was going to entice fans back from bars and homes. “The stadium is iconic for its size and so the experience had to match this expectancy,” he adds. “You have to convince potential spectators to come out of the comfort and warmth of their homes with their HD displays to travel across town, quite possibly in the rain or blistering heat. They then have to either park their car or take public transport before travelling home again. So you really need to develop a structure that people want to gravitate to and feel part of.” To enhance the fan experience, Willsallen did his homework by attending sporting events to gain a better insight. “What happens when a spectator leaves their seat and heads to a bar? What are they listening to? If a goal is scored while they’re away, they shouldn’t have to miss out; they need to remain connected to what’s happening in the field. In addition, what role is the audio playing in the fan experience when entering the stadium from the car park or the station? Is it easy for them to find their seat or make their exit, especially if they are supporting the opposition? It’s not simply about enhancing the audio once the ball gets kicked – all the different elements constituting the experience need to be considered.” Having identified that 100,000 people can either be simultaneously in their seats or elsewhere, such as one of the bars, Willsallen designed the MCG as a 200,000-capacity venue. The modern stadium today cannot simply rely on a once a week or fortnight sporting event; its use needs to be maximised. Therefore, corporate events, weddings and other smaller events need to be staged on other days to maintain profit. Fortunately, the MCG is in close proximity to Melbourne’s CBD and benefits from

Preparing for liftoff great transport links, with event organisers viewing it as a prestigious venue for their clients. Prior to the audio upgrade, the ‘G’s first-phase makeover included the adoption of 5G high-density Wi-Fi, 326m2 of LED ribbons, Daktronics vision boards and 2,000 IPTV displays. Inconsistent audio coverage in the ‘G led to the secondphase upgrade. Prior to the audio systems being installed into the bowl PA, concourses, bars, exits and entry points, a comprehensive EWIS (emergency warning and information system) had to be interwoven into the architecture. “Depending on budget, three options were available to the MCC,” explains Willsallen. “Firstly, a hybrid model with repairs and improvements to the existing PA; a second whereby the speakers in the seating bowl would be replaced; or an entire stadium upgrade. Fortunately, the budget was made available for a complete upgrade.” Having transplanted himself into the role of spectator, Willsallen devised two designs for the bowl. “Normally, the bowl accounts for up to 70% of the audio budget,” he explains. “However, for the MCG, it was only about 40% because so much more coverage is needed beyond, including the concourse restaurants, bars, conferencing facilities and meeting rooms. Even though I had already spent six months in the building during the Commonwealth Games, I did not fully comprehend the scale of this project. It was imperative, therefore, to create a spreadsheet for identifying every single room in the building. Ultimately, we listed a total of 3,127. Of course, not all of those rooms require sound reinforcement, but an evacuation PA and voice announcement system was needed.” Rather than select varying bespoke brands for different aspects of the audio design, Auditoria finally proposed one. Based on a combination of factors including weight, cabling, output, coverage and supplier support, d&b audiotechnik was ultimately selected. “Working with one reputable manufacturer’s catalogue made life a lot simpler,” explains Willsallen. “Using one amplifier platform was the basis for the entire stadium design. In addition to their amplifiers, d&b manufacture a wide range of installation and concert-grade

Key personnel Melbourne Cricket Club General manager, IT and innovation: Rey Sumaru AV and broadcast lead: Timothy Phypers Project manager: Susi Schroeder Case Meallin: Project manager: Emma Pearce Diversified: Project manager: Dan Woodward Project director: Matt Edgcumbe Project coordinator: Susanna Salmi Site supervisor: Tim Lesich Project assistant: Tegan Collier Design engineers: Paul Jamieson, Menaka Gunawardana CAD: Mehak Bansal, Jarryd Edgcumbe Field engineers: Victor Laubscher, Jesse Widgery Network engineer: Alex Bollom Sales/bid manager: Shane Cannon Auditoria: Principal: Scott Willsallen Senior consultant: Luis Miranda ITE: Project manager: Frank Agosta Engineers: Martin Clenick, Frank Hall Supervisor: Andrew Agosta Vertigo: Project manager: Daniel Hutchinson Supervisor: James Kiely Able Industries: Project manager: Michael Martyn Engineer: Andrew Briggs

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FEATURES: LEISURE loudspeaker products that meet architectural demands. In terms of servicing, it didn’t make sense to select different brands – d&b’s Australian distributor NAS is both local and highly renowned.” The Auditoria data and documentation saved the Diversified team an enormous amount of time onsite. “Having such detailed designs available at the start allowed us to pull the cables with confidence,” comments Edgcumbe. “We were familiar with the site, so we decided to install the bulk of the cable during the cricket season in January and February when there are fewer disruptions.” The MCC approved Auditoria’s proposal to create dedicated entry and exit infrastructures for announcements. “I found that the eyes are easily distracted by multiple things happening on game day, so spectators can be guided both in and out of the stadium by their ears,” evaluates Willsallen. “You don’t need to rotate your head when using your ears. In addition, information that’s delivered aurally in front of you has a higher priority than from any other direction. When entering the stadium, the information required needs to be directed from speakers pointing at you and as you walk towards the stadium, without any sound following you. When exiting the same gate, a separate set of loudspeakers announce specific messages for fans walking towards unique exits. The information received by the ears is specific to that particular exit, so the fan knows exactly where to go.” Traditionally, stewards standing outside the gates used a radio microphone to relay general information to the crowds.

Willsallen opted for pre-recorded messages saved as presets, which could be placed in queue lists with gaps between messages. “If you can identify a problem from the CCTV at the different gates, the operator can change the messaging to improve the movement,” adds Willsallen. “For example, if a family with children is heading to the stadium for the first time in years, it can be quite an intimidating and stressful experience. The more information you can provide, the more confident they will feel entering and exiting the stadium.” Two speaker systems work together to deliver messaging for fans entering the ‘G. Weatherised d&b 12S models above the entry gates direct those entering from a 60m distance, with rows of xS 5S speakers providing less frequent and more specific messages such as having bags for inspection and tickets ready upon approach. “A separate PA system of 5S surface-mount speakers comes into operation following the event, providing information such as public transport announcements. For a relatively low cost, the audio in these zones combines intelligibility and power.” Owing to its sheer size, together with the contrast in height and structure between the north and south grandstands, the bowl PA became the main focus of Auditoria’s design. “We started from the top and worked our way down by maintaining a focus on the performance and frequency response regardless of the zone,” explains Willsallen. “Owing to the arc of the roof in the north stand, the shape of each frame had to be customised. Therefore, the architectural drawings had to be accurate and validated with a survey.”

Work was conducted between football and cricket seasons

At the outset, Auditoria modelled 12 different PAs in the bowl in which careful consideration was given to the capacity of the roof structure and the building’s architecture. With the preliminary structural engineering and calculations conducted and the design agreed, Wonder Works created animations and modelled the venue in 3D with the audio system. Ultimately, 30 arrays combining V- and Y-Series modules were affixed to the bowl with custom-built frames. Of the 495 cabinets suspended from the roof, 454 are array speakers, with another 41 serving as delays. Providing long-throw and short-throw capabilities respectively, the V/Y combination was successful in providing even coverage to every seat, including the 20–50m throw to the lower seats in the northern stand. “The gain difference between the two is minimal, but the larger V12 module is more efficient,” adds Willsallen. “If the throw distances are similar, the same speaker would need to be used in the lower bowl. It took a little effort to glue the upper and lower bowls together acoustically, but the transition landed on a gap quite deliberately.” In the upper bowl, there are twice as many arrays focusing on the seats as there are in the lower bowl. A total of 28 arrays integrate three V-Series subwoofers in cardioid mode with some delays for pushing more energy into the lower bowl. “This pattern control robs the upper bowl a little, so we added a delay cardioid sub to fill the gap. With this broadband coverage, every seat has been designed to be musically exciting in addition to intelligible,” explains Willsallen.

North stand atrium, level 4

d&b V- and Y-Series modules are affixed to the bowl with custom frames

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Untitled-1 4

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FEATURES: LEISURE With the design of the bowl PA precisely modelled and transferred to architectural drawings, Diversified was then tasked to apply these to the real world. “There was a lot of mechanical design work to be completed, particularly revolving around the rigging and hanging of the speaker trusses from the roof,” explains Edgcumbe. “This was a major design challenge because the original design had the clusters in and suspended on winches for flying in and out quickly in case of an extreme weather event. Ultimately, the roof engineers concurred that such a precaution was unnecessary, allowing us to revert to a traditional, dead hung design.” Having installed the loudspeaker components adjacent to the catwalks prior to the 2006 Commonwealth Games, Diversified was now charged with decommissioning them. Although the arrays needed to be suspended as close to the edge of the roof as possible, rigging points and access proved to be fairly inaccessible. In addition, the structural load was insufficient for the calculated weight, particularly for the loftier northern stand. “We needed to devise a method for there to be enough structure to hold it up, but it would be light enough not to buckle under extreme winds,” explains Edgcumbe. “Ultimately, we proposed an aesthetically pleasing and lighter solid steel structure plus bracketry that would be fixed to the roof with architectural rods. This also provided some flexibility when angling them to the roof. We subcontracted Able Industries to shape the metal structures before calling upon the expertise of technical riggers, ITE and Vertigo, who hoisted themselves up 40m to attach the individual arrays. Each array is a mechanical design masterpiece.” Diversified was forced to abandon its original plans to gradually install the arrays around the bowl during the football season. “We soon realised that it was going to be problematic introducing cranes and plant machinery onto the field of play during the winter,” says Edgcumbe. “The MCC is very precious about its turf and deploys grow lights, shining them onto the grass so that it can continue to grow during the winter months. Ultimately, we conducted the works in the four weeks in between the football and cricket seasons. By leasing a factory in Collingwood, all the arrays were preassembled in just three weeks prior to going onsite. Once driven into the stadium, each array was then hoisted with a crane from a position in the seating area.” A total of 18 ELV rooms in both the old southern and more recent northern stands house the 273 d&b audiotechnik 10D, 30D and D80 amplifiers that drive the loudspeaker network in the bowl, under-balcony zones, dining areas and premium bars. Given the architectural limitations, the Diversified team created impressively short cable pathways to trunk the vast infrastructure of 6mm and 8mm cabling. The complexities of the bowl PA are exonerated by the existence of 57 under-balcony bays. “I had to put a lot of effort into building up the same energy levels as the remainder of the stadium in terms of SPL and bandwidth,” declares Willsallen. “Acoustically speaking, the worst seats are the under-balcony seats and, in a stadium that is so layered, there are thousands of under-balcony seats.” With an 18m depth, the level 1 underbalcony area has a shallow seating tier. “Given the depth and the narrow aperture, there is very little energy being directed from the main sound system to provide any real energy to the under-balcony seats. Ultimately, I decided to treat each individual zone as a separate venue.” With system compatibility in mind, each of the 57 level 1 under-balcony bays has been outfitted with four E5 and four E8-D cabinets together with a 15-inch cardioid sub affixed to the structure behind the visual displays. “Blending into the stadium’s architecture, compact S5 cabinets have been installed for the seats that are not covered by the bowl PA or the dedicated under-balcony systems. Now, the under-balcony areas are furnished with their own dedicated full-range audio systems with minimal energy spilling back into the bowl. Crucially, we managed to create a seamless audio transition for spectators when they are moving.” A Q-Sys digital audio routing system serves as the matrix for relaying recorded messages to the designated zones on the correct game day, including the guest areas and suites. Prerecorded entry and exit messages to 2,806 d&b audiotechnik and QSC speaker outputs can be overridden manually when required via the call stations outfitted with Q-Sys PG-1600 gooseneck microphones. Specified primarily for its audio control

Technical riggers attach arrays at 40m up

attributes, Q-Sys also integrates with the BMS and operates over the IP network to control the LED ribbon boards, digital PA and IPTV. The two dual redundant Q-Sys Cores provide AES digital audio and analogue backup. A further 43 CXD8.4Q networked amplifiers drive the bars, concourses and BOH areas. Two Optocore signal transport systems are being used, one for Q-Sys and one for the DiGiCo SD9 and 4REA4 mix engines in the control room, expanding the DiGiCo capacity and providing network devices to add scope for inputs and outputs to be patched from the console with the final link to Q-Sys via dual redundant AES/EBU connections. “Ewan MacDonald from the Q-Sys distributor TAG in Sydney made the whole process clear and informative, giving us the confidence to specify it,” adds Willsallen. “The Diversified programming team went to a lot of effort, not just to deliver what was needed according to the specification, but by working with the operations team to develop a user interface that they’re excited to use.” Auditoria specified 20 dual-element shotgun mics around the stadium to extend the bowl atmosphere to the indoor bars, function rooms and concourses. “The goal was to improve the audio quality for the broadcasters who had previously cited feeling disconnected from the sport and not being able to engage in the games,” explains Willsallen. “I then looked at removing the barrier of engagement in the premium rooms by adding a microphone with a variable pattern that can be adjusted on a preset basis remotely. The operators can vary the parameters of the shotguns, such as the balance of the mid to the side. The balance of a particular microphone is fed into the stereo and mono mix before being saved as a preset. It is then fed into the Q-Sys system and distributed to all of the restaurants and bars.” Auditoria realised that the bars and corridors could become a deterrent to spectators prior to the game and during any intervals in play. As such, Willsallen convinced the MCC that the background noise of the under-balcony seats and atriums of the north stand could be better controlled by adding 3,000m2 of 100mm-thick Megasorber sound absorbing material. “High costs and weather durability always deter the treatment of vast concrete surfaces in such a reflective environment,” muses Willsallen. “For the concourse areas, I had to consider the concrete roof, the concrete and glass walls and the noisy stadium where congregating spectators are trying to order beer

Blue skies were a welcome sight for the Diversified contractors on top of the ‘G

The mezzanine of the MCG’s Long Room

The roof of the north stand

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FEATURES: LEISURE and chips yet cannot hear what the vendor is saying because of the noise emitting from the bowl. So much acoustical energy is being pushed into these spaces in addition to the crowd noise that I took the rather unusual step of adding acoustic treatment. The difference in terms of intelligibility is staggering. You can walk from a treated bay in the northern stand into an untreated bay in the south and be amazed by the difference, even when the stadium is empty.” Live productions no longer rely on hiring loudspeaker systems when hosting either small- or large-scale events. For such occasions, the main system control room – equipped with a DiGiCo SD9 console, Waves SoundGrid plug-ins, DiGiCo 4REA4 mix engines and an inventory of Shure Axient digital mics – takes on special significance. Willsallen is keen to highlight that the MCC can repurpose its existing speakers for bespoke entertainment needs. The very narrow dynamic range of a stadium makes it a highly complex, unusual environment. “Once you’ve taken into account the background noise and the maximum level you can operate at, the gap between the two is quite small,” explains Willsallen. “With added enthusiasm from the crowd, that gap narrows. Few operators know how to operate a console in such a scenario. As such, we’ve started to add Waves plug-in packages on consoles for stadiums because they provide a level of processing that doesn’t normally exist.” Auditoria added many nuances that are performance-based, with others designed to add efficiencies, making it more affordable and hence appealing to smaller corporate event hirers. “The control system needs to deliver a set of tools that an operator can manage and so we’ve tried to add efficiencies should a corporate event need to be hosted on the field of play. If that also requires a video package to be added, we have enabled that. Normally, a team of four people would be required: an audio technician, a video switcher, a VT operator and a technical manager. Now, a video tape operator has a fader panel that allows the operator to adjust the levels using a couple of inputs. This has been made possible by adding the DiGiCo 4REA4 platform.”

Auditoria’s Scott Willsallen with MCC delegates surveying the proposed works on top of the ‘G Despite the renowned system integrator’s 40-year pedigree, Diversified is aware that this project represented a steep learning curve. “We certainly learnt that you cannot undertake a job like this by trying to do it yourself; you need a lot of help,” confesses Edgcumbe. “In addition, the implementation of a project can only be as good as its documentation, so you need the client to agree to the project’s requirements in writing. Difficult questions arose which led to long and sometimes difficult conversations, but we eventually arrived at a point where the MCC appreciated the outcome of the design.” 2020 – the year of Covid-19 and empty stadiums. “It will be so good when we can throw the doors open again and fill the

place with people,” concludes Edgcumbe. “Everyone connected with the MCC has a very strong passion for the enjoyment of sport, they love the stadium and the opportunity to provide an environment that spectators enjoy. There is a pride in it all.” When fully attended events restart, the stage is set for an almighty roar from the ‘G’s capacity crowd and a fully integrated audio upgrade designed with the fan in mind. www.auditoria.systems www.mcg.org.au www.nas.solutions www.onediversified.com/au

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FEATURES: HOSPITALITY

Space invaders

L–R: Group

Sue Su drops in on the first club to open in Guangzhou’s new CBD, which has been installed with a Funktion-One Vero system SINCE OPENING THE FIRST SPACE CLUB IN CHENGDU, Roger Luo has gradually unfolded a blueprint for his entertainment empire. The formation of the Space Plus Group has seen successive club openings in Chongqing, Shanghai, Kunming, Changsha and Nanjing, each defining a new landmark on the local entertainment scene. Additionally, the Space Plus Group owns multiple music festival brands, including Transmission and Fusion EDM. An impressive track record, but Luo’s ambitions go beyond this. In May 2020, the Space Plus Group opened its doors on Tiande Plaza in Guangzhou’s new CBD, launching the Spaceland concept of bringing together various entertainment outlets in one place. “What is being built here is a large nightlife entertainment complex,” he explains. “We hope that this place will prove to be a successful case study as per the government’s policy to stimulate the nighttime economy, allowing people to participate in entertainment activities in the complex from 6pm to 2am. I believe this is the future of clubbing and entertainment.” Spaceland covers an area of about 14,000m2, occupying the 2nd to 4th floors of Tiande Plaza. This includes two large clubs, six bars of different sizes and styles, some small live music venues and music-related stores. There are also plans to offer DJing courses in conjunction with technology brands. At the heart of Spaceland is the Space Plus Club Guangzhou, located on the third floor. As the flagship and largest club in the Space Plus Group, its goal is to be ranked among the top nightclubs in the world. Luo, who lived in Melbourne for eight years where he studied DJing and music production at the DMC Records school, prides himself on his understanding of music, always putting the sound systems at the very centre of his clubs. After meeting with Funktion-One founder Tony Andrews at Prolight + Sound Shanghai 2016, he decided to work with the brand’s local distributor Phoenix Audio, making Funktion-One his only choice for clubs in first-tier cities. The Guangzhou club is a fan-shaped construction: wide at the front and narrow at the rear, varying in width across the 38m length from 42m at the DJ booth to 18m at the back of

the club, with a ceiling height of 10m. Like all other Space Plus clubs, there are no internal pillars. Funktion-One’s vertically arrayable Vero system was chosen for the main sound reinforcement system, delivering point source sound while also drawing on the advantages of a vertical array. “Funktion-One’s point source technology has effectively helped us solve the problem of this venue,” says Chris Zhang, director of Phoenix Audio. “The fan-shaped structure, with its wide front and narrow rear, brought many challenges. In order not to interfere with the lighting effects, the speakers needed to be

Full Fat Audio and Funktion-One E90 amps drive the system

Two EVO 7Es are installed beside the Vero hangs as side fills placed as far as possible to either side. Using the Vero system allowed us to keep the distance between the two arrays as wide as possible while maintaining a clear left and right stereo image. Vero overcomes the propagation characteristics of conventional point source speakers, retaining the advantages of point sound sources, with long-throw ability and flexibility.” The arrays, flown on either side of the DJ booth, consist of three Vero V60 mid-high loudspeakers with a horizontal coverage angle of 60° on the top, three V315 mid-low cabinets in the middle and a V90 mid-high cabinet with a horizontal coverage angle of 90° at the bottom. The system is powered by four Lab.gruppen PLM 20K44SP amplifiers.

Funktion-One subs handle low frequencies

Striki

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Two besid in fron reinfo into th subwo the au 12 sin throug Funkt PSM3 includ subwo “This “Roge first b festiv clubs

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FEATURES: HOSPITALITY

Hoisting the Vero arrays

L–R: Chris Zhang from Phoenix Audio and Space Plus Group’s Roger Luo Two EVO 7E horn-loaded three-way speakers are installed beside the Vero hangs as side fills, with two EVO 6Es installed in front of the DJ booth as front fills. For low-frequency reinforcement, a total of 12 F124 subs have been divided into three groups and stacked under the DJ booth to form a subwoofer wall. To further supplement the low frequency in the audience area, a total of eight double 18-inch BR218 and 12 single eight-inch BR118 subwoofers have been distributed throughout the venue. The double DJ booth is equipped with Funktion-One’s PSM318 DJ monitors. The EVO 7s, EVO 6s and PSM318s are driven by a total of 10 Full Fat Audio amplifiers including 8004, 6004, 8000 and 6000 models, while the subwoofers are driven by seven Funktion-One E90 amps. “This is a standard music festival system,” continues Zhang. “Roger defined two very important concepts when he opened his first bar in 2015. The first was to turn the club into a live EDM festival, and the other was to let the dancefloor dominate his clubs. After that, big party clubs with high ceilings began to boom

in China, while EDM entered the mainstream culture for young people. He has always been a leader and demands the most advanced technology. This new system is a world-class music festival setup. At the same time, it is also a very simple system but, because there aren’t many speakers, the interference is reduced, and the result is clean and uniform coverage.” Despite the fact that Zhang describes the new setup as simple, its efficiency gives it impressive headroom and durability. “We’re using the system at less than half of its capacity but, even so, it operates at high SPLs and the sound is very transparent,” comments Zhou Honghai, technical director of Space Plus Shanghai and Guangzhou. “The coverage of the entire sound field is uniform: no matter where you stand in the venue, it is very comfortable to listen to. It also has very high sensitivity, with adjustments as small as 0.5dB or even 0.3dB adjustments can be clearly heard. This is something that many conventional speakers cannot do. It has excellent transient response, directivity is precise and it meets coverage requirements. Compared with other brands I have used before, Vero’s coverage, sensitivity, SPL, uniformity and accuracy are all the best. When guests and industry peers come to visit, they are also very happy with the result.” Zhou is also pleased with Phoenix Audio’s work from an operational viewpoint. “The entire system is very safe; the power box made by Phoenix in the early stages of installation calculated the maximum current and power,” he says. “The system has never overheated, and the wiring is very tidy, clearly and carefully marked. I can carry out troubleshooting within one minute, and this really helps us deal with problems efficiently onsite.”

Phoenix also provided a 16-channel Waves eMotion LV1 mixer package for the club, including an Axis One SoundGrid computer, SoundGrid Impact Server-C server and SoundStudio STG-2412 stagebox. Signals from the Pioneer CDJ-2000NXS2 DJ multi players in the two DJ booths are processed by the mixer before going out to the club system, and Zhou is impressed by the eMotion LV1’s plug-ins, low latency and userfriendly operation. As the club is located in the city centre, with a residential area and five-star hotel nearby, strict noise restrictions are in place. To comply with these, as well as achieving good acoustics for the club, absorption panels and fibreglass panels have been installed on the ceiling and the interior walls of the club, as well as the exterior. After acoustic treatment was carried out, sound reflections in the venue were significantly reduced, with average SPLs of 105dB(A) possible without disturbing the outside world. Space Plus also needed to impress clubbers with striking visuals. The club interior has been finished in a steampunk style by an interior design company which has worked with the group in the past. Two overlaid transparent LED screens 32m wide by 10m high display bold images to accompany the EDM, while 360 fixtures from PR Lighting’s Smart 480 and PR 6000 series, together with 196 wash lights from Yaji, more than 400 PAR lights from both brands and 22 M6-W10000 lasers from Laifeiful, are installed throughout the club. Video and lighting are controlled by two grandMA2 lighting consoles. Phoenix Audio used EASE Focus simulation software to design the sound system for the club, and Zhang met with Funktion-One co-founder Tony Andrews in the UK to finalise the design. Then, as Covid-19 began to disrupt plans, everything from construction to delivery, setup and opening became uncertain. Fortunately, the long-term relationship between Space Plus and Phoenix Audio was able to drive the project ahead after confirmation that the club would open at the end of May 2020. Phoenix’s team went into overdrive during April, flying in the system from the UK and completing the installation within the tight schedule. Space Plus has quickly established itself as an entertainment destination since China began emerging from Covid-19 restrictions. “I think we’ve managed to grow the entertainment market in Guangzhou,” claims Luo. “Nightclubs used to be located along Yanjiang Road, an older district, but we’ve focused on the new CBD, bringing a new concept here.” Luo continues to expand his entertainment landscape, with the next Space Plus expected to open in Bangkok in early 2021. If Space Plus Guangzhou is anything to go by, Luo will continue to push the boundaries of clubbing, not only in China but beyond. www.funktion-one.com www.phoenix-audio.com

Striking lighting and visuals accompany the Funktion-One sound system

www.spaceplusgz.com

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FEATURES: HOSPITALITY

Enjoy

On the waterfront

A massive renovation project has transformed the derelict Howard Smith Wharves complex. Caroline Moss takes a virtual tour of Brisbane’s newest hospitality destination, which has successfully readapted during 2020 LOCATED ON A BEND OF THE BRISBANE RIVER BENEATH the Story Bridge, the 3.4-hectare Howard Smith Wharves, originally created to provide Queensland locals with employment during the recession of the 1930s, is enjoying a new lease of life. A selection of restaurants, bars and event spaces began springing up during a phased opening that started in late 2018. The site has withstood Covid-19 restrictions, albeit with a little repurposing, and is firmly back in business. And with more than 80% of the site allocated as public space for Brisbane residents to enjoy, providing a 500m cycle and walking path allowing riverside access into the city, it is well-placed to aid the region’s recovery. With a history of refurbishing heritage-listed and derelict buildings, the HSW Nominees consortium was selected by Brisbane City Council in 2015 to undertake the revitalisation of HSW. HSW Nominees plans to own and operate the precinct for the long term, with a three-tiered approach of restoration, design and visitor education. Brisbane construction firm, Hutchinson Builders, was contracted to restore the heritage buildings and construct new facilities, with local systems integrator Ampd Electronics brought in to handle AV integration. The site, which had lain derelict since the 1960s, had become a wasteland of disused historic buildings. Over a five-year period, at a cost of between A$200–250 million, this has been transformed into a multiplexed, family-oriented leisure village overlooking the Brisbane River. Before the events of 2020 struck, HSW’s phased opening was going according to plan as the different venues came online, starting with the Felons pub in November 2018. Ampd was brought in 18 months into the development phase to provide a networked audio system across the site, featuring an enormous deployment of Martin

Howard Smith Wharves is on a bend of the Brisbane River Image courtesy of Christopher Pratt Audio and QSC loudspeakers, with nearly 250 of Martin Audio’s CDD (Coaxial Differential Dispersion) series enclosures alone – including IP-rated weatherised WR versions. A QSC Q-Sys backbone running on the IT fibre network provides connectivity between the individual venues, allowing any audio source to be routed to any destination. The audio technology was provided by Australian distributor, TAG, whose director Anthony Russo

describes the project as “world class, transformative and the most unique site in Australia.” “We started almost three years ago,” recalls Ampd’s Matt Hayes, looking back over the project. “It was a huge construction site in terms of the sheer size, and while the venues weren’t massive jobs individually, there were several projects of a reasonable size going on in the same space all at once.”

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Amp for th plann team audio which Hayes restau work requir Amp which Felon own m weath board 32 CD and o 16 CD throu by six areas speak is bei ampli The is situ work a net with 1 ampli CXD8 areas AD-S8 Two in the is equ AD-S4 The G A ye up, in Japan instal CDD8 garde

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Felons runs alongside HSW’s microbrewery Image courtesy of Christopher Pratt

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FEATURES: HOSPITALITY

Enjoying socially distanced early evening drinks Image courtesy of Christopher Pratt Ampd was initially brought in to run the cabling infrastructure for the two main events spaces which HSW Nominees was planning to use for 1,500-capacity private functions. Then, the team in charge of the AV fitout for the restaurants mentioned audio. “They had been interested in using Martin Audio, which we’d used on a lot of previous projects,” continues Hayes. “And that’s when we started looking at developing the restaurants’ sound systems, working with them on the design work and connecting them to the products that met their requirements.” Ampd’s first phase of work took around four months, after which the first two bars were ready to open in late 2018: Felons and Mr Percival’s. Felons, which runs alongside HSW’s own microbrewery, was installed with a total of 43 CDD6-WR weatherised ultra-compact CDD speakers along the front boardwalk area and for booth seating in the beer garden, with 32 CDD8-WRs distributed throughout the beer garden itself and on the upper deck and lawn areas around Felons. Indoors, 16 CDD8s, four CDD6s and two CDD5s have been installed throughout the restaurant. Lower frequencies are handled by six Martin Audio Blackline X210 subwoofers for indoor areas and two SX212s outside, while 11 QSC AD-C4T ceiling speakers are installed throughout the public areas. The system is being driven by one CXD8.8Q and seven CXD8.8Qn DSP amplifiers. The smaller Mr Percival’s proved more challenging as the site is situated over the water, requiring a large amount of harness work during installation and access to the underfloor space via a net slung under the building. This venue has been installed with 14 CDD8-WRs, 16 CDD8s and four SX212 subs, with DSP amplification provided by two CXD4.5Qs, two CXD8.8Qns and a CXD8.8Q. Outside, various pop ups including pods and outdoor areas have been provided with QSC AD-S4T, AD-S6T and AD-S8T speakers. Two events spaces, Howards Hall and Rivershed, also opened in the first phase, as well as the Greca Greek restaurant, which is equipped with a combination of QSC AD-S6Ts, AD-S8Ts and AD-S4Ts reinforced by two Martin Audio Blackline X210 subs. The Greca system is powered by 16 QSC CMX 300 amps. A year later, the second phase of restaurants opened up, including Stanley and Yoko Dining for Cantonese and Japanese cuisine, respectively. The interior of Stanley was installed with 11 CDD8s and four SX110 subs, with 14 CDD8-WRs and six CDD6-WRs concealed in the surrounding gardens and driven by three CXD8.8Qn DSP amps. A total of

Howards Hall has been repurposed as a German-style beer hall

19 C6.8T ceiling speakers plus a C8.1T have been installed throughout the ancillary areas. The system in the smaller Yoko Dining features 15 QSC AD-S8T and seven AD-S6T speakers powered by PLD4.3 and PLD4.5 DSP amps, supplemented by two Martin Audio X210 subs. Ciao Papi and Rum Bar also opened in 2019, with 23 QSC AD-S6Ts going into Ciao Papi and 19 Martin Audio CDD8-WRs into Rum Bar, powered by a combination of CXD8.8Q, CXD8.8Qn and CXD4.5Q amps.

HSW offers plenty of outdoor seating Image courtesy of Christopher Pratt

From the moment the first venues opened back in late 2018, HSW enjoyed a golden period of almost 18 months where people flocked to visit the site in droves. “It was Brisbane’s new thing and you couldn’t move down there most weekends,” says Hayes. Then, Covid hit and, by late March 2020, the complex went into a short hibernation period. Fortunately, HSW has proved flexible and spacious enough to withstand this. Plans were drawn up to reconfigure hospitality spaces so that the site could safely reopen as soon as local restrictions allowed. “For a while outdoor seating was a better option, so they were putting tables and seating into any outdoor areas they had,” says Hayes. On 17 June, HSW started to reopen subject to government restrictions, and the Ampd team began repositioning technology to allow spaces to be used more effectively and improve audio coverage in previously underused areas.

With large gatherings now firmly off the agenda, the two events spaces, which had proved popular for weddings and other functions, had to be reconsidered for the longer term. Howards Hall has reopened as Felons Barrel Hall, a new food and beverage outlet that can safely and comfortably accommodate 500 seated people, as per ongoing regulations. The redesign is a modern take on a German beer hall, complete with a backdrop of barrel-aged beers, foaming steins at the table and a performance space for live acts from Thursdays to Sundays. Here, a system of nine Martin Audio CDD6-WRs and six CDD8-WRs are keeping beer-drinking customers happy as they take in views of the Story Bridge and city skyline via retractable floor-to-ceiling glass windows. Meanwhile, the Rivershed events hall is being used to extend the dining space for other restaurants. The site-wide QSC network has boosted the venue’s flexibility and has proved invaluable when redeploying equipment. A total of five Q-Sys Core 110fs including one for redundancy span the site, allowing musical content to be played throughout any of the venues at any time. “There are QSC networked amps at each venue, each providing full monitoring,” says Hayes. “We can look at speaker load on each one and report faults based on, for example, a speaker shorting out on the other side. And the flexibility of the system allowed for quick redeployment as new cable runs could be minimised by locating amps where network was available.” Live bands or DJs performing in the outdoor areas can plug an output of their mixer into a converter box, making their audio feed instantly available anywhere via the Q-Sys network. Lighting is triggered automatically after dark, and all AV runs from a master central Crestron CP3 system interfaced to local touch panels in each venue. As live music and safe socialising return to Australia, the citizens of Brisbane are making a welcome return to HSW, which has emerged victorious from the trials of 2020. If proof were needed as to the long-term viability of this spacious and flexible hospitality site, you need look no further than the newly packed bars and lawns of HSW on the banks of the Brisbane River. www.ampdelectronics.com.au www.martin-audio.com www.qsc.com www.tag.com.au

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FEATURES: ENTERTAINMENT

Creating a legend

and m with o The unfold a 110 in the the fe The a the o dome sceno shape for th “The outdo audie the w engin We ha sound accom metal catwa backe an Au of fibr sound audie ECA audio ECA2 appro projec engin appre on the profes

Pan Gu appears on the 960m2 Cascade Screen

ECA2 pushes the creative boundaries of multimedia shows across the world, with a growing number of permanent spectaculars opening, many in China. Caroline Moss reports on The Legend of Pan Gu FOUNDED IN 1974 AS ECA, THE PARIS-BASED FIRM initially focused on architectural lighting and graphics before adding a “2” to its title 10 years later and shifting into the design and production of sound and light shows. To date, ECA2 has conceived and brought to life more than 60 multimedia spectaculars across 17 countries, including Olympic ceremonies, World Expos and, increasingly, permanent shows for theme parks and tourist destinations. Since 1994, ECA2 has staged sound and light extravaganzas in Asia, starting with the Encore Garden theme park in Taiwan. Today, the company has offices in Dubai, Hong Kong and Shenzhen with partners in Shanghai and Singapore, plus local freelance talent that it has worked with for up to three decades, who cooperate on projects with staff based in the Paris studios. ECA2’s latest Asian project is The Legend of Pan Gu in Lanzhou, China, the company’s ninth permanent show. Indeed, five of these have opened in China, including Lake of Illusions at OCT Shanghai Happy Valley, Eastern Sunrise in Rizhao Olympic Park, Wuyishan’s Fountain of Dreams, OCT Bay’s Mangrove Groove in Shenzhen and The Big-O Show that opened in 2012 for the Yeosu International Expo and is still running. Like many contemporary Chinese attractions, The Legend of Pan Gu aims to bring tourists to a remote part of the country and extend their stay in the region. Drawing on a popular legend, ECA2 has crafted an immersive spectacle to bring the story alive, wrapping the audience in sound and visuals using video projection and audio as the base for the narration and adding in lasers, lights, water, mist, flames and pyrotechnics. The 26-minute show takes place twice a night in a theatre in Lanzhou in Gansu Province, Northwest China, a city on the ancient Silk Road, today an important element of the Belt and Road Initiative.

Clément Rabréaud, ECA2’s technical director on The Legend of Pan Gu The ECA2 team was approached by Gansu Xirong Cultural Tourism Development, which is responsible for cultural tourism development and construction projects in the region. The French company had come to its attention in 2016 with Eastern Sunrise in Rizhao, Shandong Province. Among its innovations, Eastern Sunrise featured “wave water screens” – jets shooting columns of water into the air, creating a wall of water to project onto.

Representatives from Gansu Xirong travelled to Rizhao for the opening of Eastern Sunrise and to meet the team behind the show. “They wanted to create the same appeal in the region to attract Chinese tourists, duplicating the concept of having a permanent nighttime attraction to entice crowds throughout the year,” explains Julien Causeret, ECA2’s global sales and marketing executive. “This would accompany the renovation of the Hekou Village, an old district close to Lanzhou, and they wanted us to work with them on this new creation.” The ECA2 team started development work in early 2017. Creative and artistic director, Olivier Ferracci, and executive stage director, Nora Matthey de l’Endroit, travelled in the Gansu region, conducting research for visual and musical content to create a strong link to the region’s culture and history. The Legend of Pan Gu is an ancient Chinese creation myth. With some guidance from his grandfather, the hero Pan Gu creates the universe through the division of a giant egg with the help of a phoenix and a dragon, separating the earth from the sky and eventually transforming himself into elements of the planet, including the wind, clouds, thunder, sun, moon, stars, minerals, flora, fauna and rivers. “We handled everything but the construction of the venue,” recalls the show’s technical director, Clément Rabréaud. “We analysed the location and did a site visit to see how we could implement a show and came up with three design ideas. They chose one that was similar to the final result because one of our strengths is to suggest ideas that are technically feasible. We have three in-house departments to carry this out – the artistic department, the space design and architecture department and the technical department – so we know we can make our ideas happen. We procured the equipment, some of which was invented

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FEATURES: ENTERTAINMENT and manufactured by our technical team, and programmed it with our designers.” The complex storyline needed a venue in which it could unfold. Enter chief architect Chengcheng Chi, who created a 110m x 100m x 38m domed theatre with an open space in the roof, which would give the 1,450-strong audience the feeling of being inside and outside at the same time. The audience is located under one half of the dome, facing the other half used for the stage. In the stage area, the domed roof features an open space to support the show scenography and use of water, lighting and laser effects. The shape of the building, with no flat surfaces, posed challenges for the ECA2 technical team. “The main audio challenge we faced was that it’s a semioutdoor venue with a double curved roof covering the audience,” continues Rabréaud. “In terms of reflection it’s the worst situation, and we had to work with Dutch acoustic engineering company, Peutz, on the acoustics of the roof. We had to design and build something that could absorb the sound and not reflect it back into the audience.” This was accomplished by covering the inner ceiling with perforated metallic panels concealing a space within the roof where the catwalks for technical access are located. The panels are backed with a build-up of Megasorber G8 acoustic fabric, an Australian fire- and water-resistant solution, and layers of fibreglass of different density that absorbs almost all the sound coming from the PA, avoiding any reflection to the audience. ECA2 enlisted fellow French company L-Acoustics to supply audio systems throughout the installation. “We’ve worked with ECA2 on several projects; they have a consistently creative approach,” says sales manager, Olivier Inizan. “Each ECA2 project is unique and they always challenge our applications engineers to define the best technical solution. We greatly appreciate their philosophy: innovation, no compromise, focus on the spectator experience, and they are all great people, both professionally and personally. Jean-Philippe Badoui and Clément

Twenty Christie Boxer 2K30 projectors cover the surface area of the dome Rabréaud worked on an initial sound design and we supported them to optimise and solve integration issues while maintaining a top-level audio quality.” “The sound engineers on our team worked together with the architects on the sound design, taking into consideration all the aspects of the architecture,” adds Rabréaud. “We managed everything – from the architectural drawings to the technical studies to the system performance – using tools and software from L-Acoustics and working with their technicians to make sure that the entire audience had the same level of sound quality.”

The front PA system consists of six stacks of Kiva II ultracompact line array speakers and an SB15 subwoofer, evenly distributed across the entire width of the bottom of the stands. A total of three KS28 high-power subwoofers have been added in between the six stacks. The rear system consists of four L-Acoustics X8 speakers distributed at the top centre of the stands, with four groups of one Syva colinear speaker and a Syva Low low-end extension between the top centre of the stands and the extreme stage left and right of the top of the stands. Inizan cites the major challenge as being the space

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FEATURES: ENTERTAINMENT available for speaker integration. “Kiva II and Syva are the best condensed SPL solutions we can offer,” he says. “Both of these compact systems have exceptional SPL capacity: 138dB for Kiva II and 142dB for Syva/Syva Low.” After validation of coverage and SPL targets, L-Acoustics application engineer, Arnaud Delorme, worked with Badoui on frequency response optimisation using the Auto-FIR line source processing tool in SoundVision software. Audio is distributed from a PC to eight LA4X and one LA12X amplified controllers through two QSC Q-Sys Core 110f processors – a master and a backup – and Q-Sys I/O frames. Q-Sys is also being used to generate and distribute timecode to all technics, including lights, lasers, water effects, flames, pyrotechnics and video. Modulo Pi – another French company whom ECA2 had worked with in Rizhao – provided media servers, as well as calibration technology designed and trialled on this show. Two Modulo Kinetic Designer workstations and six V-Node media

The dome’s open space allows creative use of water, lighting and laser effects

The theatre’s double-domed structure presented technical challenges for the ECA2 team servers were set up in conjunction with 30 Christie video projectors. Modulo Kinetic was used for show simulation and VR, programming, effects and media playback. “Modulo Kinetic offers in-depth 3D capabilities and a flexibility that is rare in media server solutions,” comments Rabréaud. ECA2 designed and installed two innovative water screens: the copywritten Magic Screen, a 2D mobile projection surface of 700m2, and the Cascade Screen, which at 960m2 is the largest double-curved water curtain screen ever built. The Magic Screen addressed issues presented by the hole in the centre of the semi-outdoor venue, where parts of the production called for projections to cover the entire dome. This upside-down water screen can be rotated by a motor to close the hole so that images can be projected from behind the building. Both water screens allow for overlapping projections – via eight Christie Crimson HD25 laser projectors and two Christie DS+ 14K-M projectors – by playing with the water transparency. For the projection on the dome, 20 Christie Boxer 2K30s cover the 2,800m2 surface area. Incorporated into ECA2’s design are 14 robotic focus jets, four 3D robotic moving jets, six robotic arch jets, a high-pressure mist installation, eight airshoot geysers, 54 patented Fog Jet nozzles to create fine rain descending from the roof for lighting, laser and video effects and 32 straight jet nozzles. Video mapping onto the double-curved asymmetric dome presented a huge challenge for ECA2. To achieve seamless media projection, with no interference to the light beams caused by the water effects, projectors were installed in 10 dual stacks along the base of the dome. This positioning, which resulted in deformed projections, presented its own issues, however. “The system calibration on the asymmetric dome was a major challenge: 20 video projectors, 20 different video feeds, an asymmetric projection area with a double curve and the positioning of video projectors resulting in glancing beams,” says Rabréaud. “All of that required a finicky and extremely time-consuming calibration despite the highly skilled video technicians working on the project – it would take at least a week. It also meant that any new calibration after a projector is moved would be almost impossible for the operators running the show onsite, as they are not trained for such complex and tricky maintenance operations.” Incredibly, this was eventually accomplished in less than one hour thanks to a new auto calibration feature that was being developed by Modulo Pi. “The function was not ready yet, but Modulo Pi

“When it comes to video projection and lights, it’s very tight because we try to make everything as invisible as possible; the position of all the technology has to be verified so that everything works perfectly,” he says. The Legend of Pan Gu opened in September 2019 after a 30-month development period involving 150 ECA2 staff members. As well as the AV systems, the company’s dramatic design incorporates 32 flame generators, 60 pyrotechnic firing positions, smoke generators, lasers and lighting effects, including 18 Robe BMFL Spots, 14 Robe BMFL Blades, 24 Robe BMFL MegaPointes, 56 LED donuts for the water jets and 126 Helios Bronze submersible LED lights for the water effects. The show is now operated by local technicians whom the company has trained to work and maintain the equipment. “When the show opened, it was mainly a local audience from this remote location who attended, and they were really amazed at the technology and quality of what had been

Pyrotechnics contribute to the show’s drama

The Magic Screen solved the dilemma of the hole in the semi-outdoor venue agreed to play the game and to develop the auto calibration functionality while we were doing our install,” he continues. Régis Dumaine, who lead the video system installation, and Lawrence Ryan, ECA2 technical manager, worked closely with Modulo Pi, testing developments made by the R&D team in France on the ground in Lanzhou. The auto calibration feature was operational shortly before the end of the show programming. During the construction and installation period, Rabréaud and architect Chi, accompanied by the technical and architectural teams, visited every four weeks during construction to check that the architectural drawings, made in France and redone according to local regulations, were being followed in accordance with ECA2’s precise designs.

achieved,” reflects ECA2’s Causeret. “From our point of view, we pushed the boundaries of technology compared to what we’ve done before but, for people in this region, it was really the future. It’s definitely something they’ll remember forever, and that’s what we set out to do.” The mission statement on ECA2’s website is “Creating emotions to last forever”. It would appear that with the realisation of The Legend of Pan Gu, that mission has been well and truly accomplished. www.eca2.com www.l-acoustics.com www.modulo-pi.com www.qsc.com

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21/12/2020 13:01

FEATURES: GOVERNMENT

An AM court

for his Steele the du “Inte factor stand exam Weste Distric other The refres had to here a comm Rutled weeks based techn HDMI quick

Unanimous verdict

A view of a courtroom from the media gallery

Richard Lawn reports on the District Court of Western Australia’s extensive AV upgrade that’s enhanced hearings across its courtrooms DESIGNED TO IMPROVE COMMUNICATIONS IN A MODERN courtroom setting, the implementation of AV technology plays an increasingly important role in saving costs, expediting court proceedings and enhancing security. Until the new millennium, the legal setting had changed very little over time, operating with almost obsolete technology that compromised cost and security.

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L–R: CHW senior consultant Tom Carrie with TAG’s Marc Sharman Common law, and the courts that deliver it, are a keystone of modern society and, as such, courtrooms are designed to operate with the best information delivery methods available. Located in Perth’s Hay Street, the District Court of Western Australia commenced operating in the purpose-built courthouse in June 2008. Having previously lacked ample jury courts and video technology, the modern multi-storey building now relies on technologies that include a digital audio recording system, videoconferencing facilities, CCTV and screen displays. Located on seven levels, 20 of the 24 courtrooms deal with serious assaults, sexual assaults, serious fraud, burglary and drug offences. The extensively networked facilities also incorporate five hearings rooms and 18 mediation conferencing rooms together with separate circulation systems for jurors,

persons in custody, child and vulnerable witnesses and the judiciary. Acting as AV consultant, CHW Consulting designed the original AV systems for the District Court in 2008. Ten years on and CHW associate Tom Carrie was called upon to spearhead an upgrade that would enhance proceedings and provide added redundancy. Proficient in an array of programming and commissioning software, Carrie brought a wide range of AV experience with him. Added to this, Rutledge AV – which had worked with CHW on numerous other projects in Western Australia – was successful in the tender bid for the project. Having installed the original 2008 audio, control and video components. The appointment of Rutledge AV – which during the course of the project was acquired by Diversified – marked a reunion with CHW. Renowned

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Alth simila dime could applie as a At th Core eight ampli moun U891 on the provid total o inputs In ad speak court’ functi using syste was p imple

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FEATURES: GOVERNMENT

An AMX wireless touchscreen provides AV control in each courtroom for his work at Perth’s Optus Stadium, project manager Elijah Steele led a team of qualified technicians and programmers for the duration of the works. “Interoperability between all the courtrooms was a key factor in the design,” comments Carrie. “Therefore, the AV is standardised to provide a familiarity for all the end users. For example, AMX is the control platform of choice throughout Western Australia, so we integrated AMX technology into the District Court Building, so that the interfaces were identical with other courts in the state.” The total refurbishment works – including the “technical refresh” quotient – specified that all 24 courts on seven levels had to be upgraded within a 12-month period. “The courts here are in continual use and it is rare to find any not in use,” comments TAG WA sales manager, Marc Sharman, “so the Rutledge team was tasked with upgrading one room every two weeks. It was like a military operation. The new AV design is based on an unpack-and-stack model and as such is not overly technical. Rutledge AV added data cabling, encoders, decoders, HDMI in and HDMI out to ensure that the physical build was a quick process.”

An Epson ELPDC21 education document camera

A typical courtroom AV equipment rack

“For the District Court, I sought to integrate higher grade processors and more accurate microphones,” explains Carrie. “The AV solution would solve audio intelligibility while controlling output throughout the entire space. In addition, zoned audio has been designed to operate with the 300+ QSC AD-C6T speakers that constitute the public address system to ensure all spoken communication can be heard clearly. Improved audio using powerful Q-Sys processors is essential in video conferencing solutions, otherwise the audio output from the remote witness or defendant is difficult to pick up.” Ensuring that younger witnesses are kept in a lower pressure environment, the courtrooms are connected to nine remote witness or child witness rooms. Four-channel communication is established between these isolated rooms and the courtrooms by streaming six channels of Q-LAN audio to a dedicated Core 510i on the upper level ELV room. While four channels are routed to a separate Core 510i for recordings that form part of “the record”, two are routed as a speaker output and redundant spare to each court’s adjacent remote witness room. In return, the Core 510i processor routes two microphone inputs from the remote witness rooms back to the courtroom. This matrix setup warranted an additional nine Q-Sys I/O-22 multipurpose peripheral units to be permanently connected and locked to the Core 510i system. A 10th unit is connected to a holding cell in the basement should a person in custody be unable to sit in the courtroom. Two 64-channel Dante cards are inserted into the rear of the Core 510i, allowing the recording channels to be streamed directly or via a network switch to the recording servers. By separating the Dante network, clocking issues are minimised. The Core 510i dedicated to the 10 I/O-22s also serves as a redundant network.

Sennheiser infrared distribution systems enable audio for speech distribution Although the courtrooms are all unique, they are relatively similar in terms of size and layout. Given the unique room dimensions and characteristics, a cut-and-paste design could not be adopted, but a similar AV design has been applied universally throughout. Each courtroom operates as a standalone AV system. At the heart of each courtroom, a rack-mounted Q-Sys Core 110f processor presides as the audio platform. Providing eight mic/line inputs, a QSC CXDQ8.8n eight-channel networked amplifier receives audio signals from a combination of deskmounted Audio-Technica U857QL 18-inch gooseneck and U891RC cardioid condenser boundary microphones distributed on the various benches. With a further 16 channels of audio provided by the Core 110f, each courtroom is furnished with a total of 24 mic/line inputs, ensuring some capacity for additional inputs. In addition to powering the QSC AD-C6T 6.5-inch ceiling speakers, the CXDQ8.8n amplifier is also connected to the court’s network, providing an output for assistive listening functionality. The primary system operates over copper loops using an Ampetronic ILD300 induction loop driver. The original system was found to leak outside the courts, so eavesdropping was possible. Therefore, an infrared system has also been implemented.

Evidence presentation technology is a central part of the legal process, with every piece of evidence needing to be presented clearly so that jury members can properly interpret it. The addition of Epson ELPDC21 education document cameras provide a top-down view of anything placed under them to create a close-up view of the evidence. Connected to a large digital HD display, items of interest can be highlighted without moving from the camera. Ensuring that everyone follows the rules and is made aware of the timings, a number of other large displays communicate court proceedings to those present inside and outside the courtrooms, while smaller displays integrated into the judge’s bench or another room are used for control purposes. Each courtroom is served by two Sony PTZ-SRG-360 HE models functioning as static cameras. “It’s important that the faces of the members of the jury are not shown,” explains Carrie. “These worked out more economical but have been locked and programmed as static feeds.” The HDMI and SDI camera inputs operating in the 24 courts are routed to the 8th-level ELV room via individual rack-mounted Extron SMP300 streaming media processors and Kramer KDS-EN4 H.264 streamers and encoders.

Sony PTZ cameras serve as the main source of video inputs NetLinx NX series central controllers lie at the foundation of the AMX control system. Individual AMX NX-1200 NetLinx NX integrated controllers in each courtroom rack run code to enable and operate the touchscreen interfaces. The addition of MXA-MPL converters, together with N-2235A SVSI video-overIP encoders and decoders, distribute the visual sources onto the IP network and the displays. Eaton 9PX200 backup power supplies feature in each courtroom should a blackout occur. Located on the main ELV room rack, two NX-3200/NetLinx NX integrated controllers have been programmed to control the AV and building technology throughout the entire Western Courts building. Equipped with a large complement of local ports and enhanced security features, the two NX-3200s integrate with AV systems, conferencing, HVAC, lighting, power management and other specialised applications. “The overall design integrates many different aspects of AV,” explains Carrie. “The PTZ cameras are, for example, integrated with the security CCTV and the AV touch panels are linked to the Building Management System to provide lists and scheduled timings. Following commissioning, defects were rectified before each courtroom was signed off on a Friday before being put to immediate use on the following Monday.” At any given time, all 24 courtrooms in the District Court of Western Australia are fully utilised. “It’s vital that the AV never fails in all these rooms,” adds Carrie. “If the microphones or video links develop faults, you cannot simply relocate to another court as they are generally not available. At best, you call a recess and Rutledge AV will fix the problem quickly as they carry spares of everything.” Given the precision planning that has been fully integrated into this redundant and intuitive design, a new benchmark has been created in Western Australia’s legal infrastructure. www.chw.com.au www.districtcourt.wa.gov.au

Each courtroom is furnished with Audio-Technica U857QL gooseneck microphones

www.diversifiedus.com www.tag.com.au

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FEATURES: RECORDING

TAG team

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L–R: TAG founders Anupam Sathe, Omkar Tamhan and Jayakrishnan Nalinkumar

The live room of Studio C

The Audio Guys had been planning their institute for several years, opening two weeks before India went into lockdown. Caroline Moss finds out what happened next IMAGINE THE SCENARIO: FOR SEVERAL YEARS YOU’VE been discussing opening a recording institute in your city with some industry colleagues. Eventually, a suitable property is procured, redevelopment begins, syllabuses are drawn up, equipment purchased and students enrolled. Then, in the face of a deadly pandemic sweeping the globe, the country instigates one of the strictest lockdowns in the world, giving only four hours notice. What do you do? Well, like so many in our industry have learned, you quickly find ways to adapt. In the case of Jayakrishnan Nalinkumar, who launched The Audio Guys (TAG) in Mumbai in March last year with partners Anupam Sathe and Omkar Tamhan, this meant rewriting courses and taking them online immediately, a move so effective that not even one student has dropped out. Although Mumbai’s lockdown ended in August, at the time of writing all teaching is still confined to online due to ongoing restrictions.

However, in addition to its online educational programme, TAG has also been able to hire its studios for commercial sessions. And in the case of the Dolby Atmos HE studio, a growing amount of immersive mixing for OTT content is keeping it busy. Both Nalinkumar and Tamhan are graduates of SAE in Byron Bay, Australia. “We wanted to provide the sort of infrastructure that you see abroad, with good equipment, a high standard of education and the best teachers in the country,” explains Nalinkumar. “We wanted to make that sort of facility available and to be affordable, so students don’t need to struggle to study at a good place.” After several conversations, Tamhan – a Dolby Atmos mastering engineer working for Dolby Technologies India – also came on board. For three years, the trio had worked towards their goal, drawing up plans and forming a company. And finally, in late 2019, things began to fall into place. After much searching,

Two c a suitable property was found: a former industrial complex in Andheri West, in the heart of Mumbai’s studio industry. This offered the ceiling height and proportions required for adequate teaching spaces. “We’d decided we wouldn’t limit our facility to training, but also make it available for professional projects,” continues Nalinkumar. “We wanted people from the industry to come visit our place and interact with students, and for the students to get a chance to be involved in professional projects, which is essential to our training programme. That’s the idea of having it right here in the studio district, so that students will be learning from the industry itself.” Nalinkumar had been teaching for the past 11 years, together with Sathe. When word got out about the new institute, they were contacted by many engineers and trainers keen to get involved. “The name of the facility – The Audio Guys – we’re a team of engineers developing good engineers for the future, and we have a very good faculty associated with us; people who’ve had decades of experience in the industry, in various professional environments, not just in music recording and mixing,” explains Sathe. “We have specialised people in postproduction, live sound and music production.”

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FEATURES: RECORDING

Studio C is installed with one of the first SSL Origin consoles off the production line Construction went on for around four months, beginning in late October 2019. Around this time, Nalinkumar made the exciting discovery that SSL was about to launch a new mid-range console. Having an SSL was an aspiration TAG never dreamed would become a reality, not only due to budget but also because the company didn’t, until now, manufacture a console that fitted their requirements. “We’d looked at lots of options from different brands and were not very content with what we were finding,” he says. “And that’s when we got in touch with Shiv Sood from [audio distributor] Sound Team who told us to wait, that there was something coming up from SSL which he was eagerly anticipating. At that point, if you wanted something bigger

Two classrooms are equipped for interactive learning than the Matrix or the XL-Desk then you went all the way to the AWS or Duality, which was way beyond what we were looking for. I didn’t want to invest in something where 50% of the features aren’t being used.” All became clear at a meeting with SSL’s vice president Asia Pacific, Anthony Gofton, during the Broadcast India 2019 show. Gofton carried out a presentation of the new console on his laptop, having only seen it briefly himself before he left the UK. It was perfect timing: the previous day, the Origin in-line studio console had been unveiled to the world at the AES in New York. The TAG team decided to go for it. The console could be delivered in mid-March, a week or so after the first student intake. This could be worked around, and TAG opened its doors to the first batch of students on 2 March. But the universe had other plans. By 24 March, the SSL by now having arrived in the country, Mumbai locked down for five months. “We thought we would be back in two weeks or so, but it just went on and on,” reflects Tamhan. “We understood that for any business to survive, adaptability was really important. We immediately had to explore new ways of handling things because this was totally unexpected, and no one was even open to online education at that point. So, on 2 April, we ran our first online class,

and it went really well. The students also liked it; there were a few hiccups with internet connections but, by the first week of April, we’d completely switched into our online mode of education.” With teaching now in the virtual space, TAG’s curriculum needed a major overhaul. “Nothing practical can be taught online effectively, so we had to prepare a lot of presentations and bring in more visual learning. We had to prepare presentations of things we could have demonstrated in the studio, and this involved a lot of video recording and work on our teaching resources. It’s really helped us put together some good training material in fact, not just for the lockdown period; it’s the way forward,” says Sathe. TAG is using Microsoft Teams as its online platform, where students can attend lessons in a virtual classroom and also arrange their own meetings. There have now been three intakes across various courses, giving a total of 46 students. Two 12-month diploma courses are available, one in sound engineering and one in music production. These are entry-level courses, but TAG also wanted to offer ongoing education to professionals already working in the industry or students wanting to obtain further qualifications. So it also offers a six-month advanced certificate in music production and a three-month advanced certificate in postproduction. Once Mumbai emerged from lockdown in August, the SSL could come out of storage and be installed. “I’m really loving working on it,” enthuses Nalinkumar. “I wasn’t looking for console automation as I do that pretty much inside the box. But recallability is accomplished by just clicking the session button, and the console design is great for recording purposes. It’s a split in-line console, which is exactly what we were looking for: a very neat signal chain for tracking up to 32 inputs with very good summing abilities.” The 32-channel SSL Origin – the first in India and one of the first to reach APAC – is installed into TAG’s flagship Studio C, which also boasts a pair of Genelec 1237A Smart Active

Monitors, supplied by Sound Team as well. An extensive collection of outboard gear includes equipment from Manley, API, Crane Song, Antelope, SPL, Warm Audio, ART, Lexicon and TC Electronics, with Neumann, Earthworks, Audix, Sennheiser, Røde and Shure mics also available. This studio is connected to a live room large enough to accommodate a 25-piece orchestra. “Since I started my career, I’ve been working with Genelecs and, although everyone was quite happy about having them as our main monitors, we still considered other brands,” says Nalinkumar. “I remembered points covered in a Genelec seminar I went to some time back, such as directivity control waveguide, the internal electronics and Minimum Diffraction Enclosure. And the DSP really helps in calibrating the speakers for the studio, while the GLM software offers a lot of control. They’re foolproof, you can’t easily overload them even if the students blast them during their practice sessions, and we can store various calibration presets for different engineers, according to their preference. Importantly, we knew that Sound Team has always been able to provide the best support. So for all of those reasons, we decided to go with Genelec.” TAG has two other studios which, like the entire facility, benefitted from the design guidance provided by two faculty members, Mujeeb Dadarkar and Vijay Benegal, who run the OdBle acoustic design consultancy. Studio B, or the Post Room, is a Dolby Atmos HE 7.1.4 mix room with JBL 7 Series speakers, Avid S1 controllers and Avid Pro Tools Dock, together with a Mac Pro running Pro Tools Ultimate. The room has an attached Foley

Studio B, the Post Room, is a Dolby Atmos HE 7.1.4 mix room pit and an ADR dubbing booth, and is networked to the entire facility, doubling up as a recording booth when required. The first Dolby Atmos HE 7.1.4 studio for education, Studio B was designed in close collaboration with Dolby Technologies India. “It has become a favourite room for sound mixing and re-recording engineers such as the multi-award-winning Justin Jose, also a senior faculty member,” discloses Nalinkumar. “We’ve also been doing a lot of projects for platforms including Hotstar, Netflix and Amazon Prime; since lockdown ended in August, we have worked on around 18 titles.” Studio A, TAG’s foundation classroom, has a Midas M-32 mixing console, chosen for its digitally operated analogue workflow, along with Amphion 118 and Sonodyne monitors as well as a range of outboard gear, small and large diaphragm condenser microphones, dynamic and specialty microphones. TAG also offers students a computer lab equipped with Apple Macs and Pro Tools, Cubase, Logic and Ableton software, and two classrooms are installed with projectors, studio monitors, MIDI keyboards and audio interfaces for interactive learning. Once the Maharashtra state government gives the go ahead for face-to-face teaching to resume, TAG is committed to resuming its original goal of establishing an audio education institute that teaches the technology and business skills required, creating a community in the process. And if anything, the lengthy lockdown has only served to promote the school’s commercial potential. A challenging first year, then, for TAG, but one that has firmly established it on the Mumbai studio scene, even before its doors have fully opened. www.genelec.com www.solidstatelogic.com www.soundteam.in

Studio A has a Midas M-32 mixing desk and Amphion monitors

www.tagmumbai.com

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FEATURES: VIRTUAL PRODUCTION

Parallel universe

Aux Media Group has created Singapore’s largest Extended Reality stage to bolster its rental business during the pandemic and beyond. Richard Lawn finds out more about Aux Immersive Studio

Aux Media can offer three spacious immersive studios THE TIMES THEY ARE A CHANGING. FOR THOSE ESTABLISHED rental production companies that experienced SARS in early 2003, alarm bells began to ring audibly long before national restrictions took effect during the current pandemic. Seasoned veterans of the roll in, set up, roll out fraternity knew their flightcased equipment would be gathering dust for some time and that business would be anything but usual. Survival became paramount as the hatches were battened down and events ground to a halt. For a handful of visionaries, however, opportunity and investment lay ahead. Incepted as a small Singaporean rental company just one month prior to the SARS outbreak, Aux Media Group lost no time in reinventing itself to increase its leverage this time around. The Kallang-based outfit is now promoting itself as a creative content development agency in events and media production, losing no time in setting up the Aux Immersive Studio. With the aim of bringing brands and content to life, the immersive environment merges physical and virtual events through Extended Reality (XR) technology and game engine systems. Aux Immersive Studio is the result of Aux Media Group’s partnership with global creative technology company disguise, which has helped create world tours for artists including U2 and Ed Sheeran, in addition to theatre productions such as Frozen and Harry Potter. An increasing amount of major events are commissioning disguise’s xR virtual technology platform, including the recent MTV Video Music Awards and various K-Pop performances in Korea. The UK-based company has moved increasingly into the production of film commercials and is becoming one of the most versatile virtual platforms on the market. “During the pandemic, we were looking for ways to pivot and wondering how the industry would change,” explains Aux Media Group founder and chief executive, Choong Chyi Kei (CK). “As one of the most versatile virtual production platforms, we chose disguise because we see potential in what XR can do for us, not only in events but also crossing over into multiple industries.” Aux Media Group’s new identity is a far cry from its humble roots. Established in 2001, Choong and his small crew learned

Aux Media Group founder and chief executive, Choong Chyi Kei

A Yamaha Rivage is at the heart of the audio setup

Physical and virtual events are merged through XR

the ropes by mixing local band showcases and events. With growing word of mouth referrals in Singapore, Aux Media accrued many government agency and corporate accounts which saw it hosting celebrations, showcasing national campaigns and working on events such as the Singapore Night Festival. Prior to the circuit breaker restrictions coming into effect in April 2020, the company’s technically certified in-house production crew worked closely with clientele including Design Singapore, National Arts Council, Nanyang Technological University, Nexus, SMU and The Straits Times. Creating an immersive experience is a natural progression of the Aux Media Group’s trajectory. The team behind the Marina Bay Singapore Countdown and the Singapore Night Festival has constantly sought new concepts and technologies with which to excite and involve audiences in its campaigns. As the company approaches its 20th anniversary, the introduction of the Aux Immersive Studio marks the next stage of growth for the homegrown experiential and events stalwart. Coinciding with the circuit breaker, Aux Media Group decided to break with its reliance on hosting traditional events for clientele by entering the virtual realm. This involves the

creation of elaborate and realistic sets augmented with CGI animations around an actor or presenter, delivering a 360°, 3D visual experience to viewers watching on their screens. “Aux Immersive Studio is the first of its kind in Singapore,” asserts Choong. “We were introduced to this technology and decided to take the plunge. All our staff are being trained in this new workflow, learning how XR technology can make our work even better. Marketers and content creators can now connect with their audiences in a more immersive way, bringing elements of their presentations to life through XR.” Choong makes the point that as technology becomes increasingly sophisticated, there is the need to rethink, refocus and re-engage target audiences. “To allow brands to engage better and share their messages, we need to push the boundaries of storytelling in the digital realm,” he explains. “With Aux Immersive Studio, we are bringing XR technology to Singapore and integrating it with our capabilities in existing technologies, to widen the scope of what is creatively possible. This will allow for new opportunities and tailored solutions to bridge brands and organisations with their communities.

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FEATURES: VIRTUAL PRODUCTION

“It’s clear that more events will be hosted online, which is leading to increasing demand from brands, organisations and content creators who are constantly looking for innovative ways to engage their audience through online events and webinars. Blending the physicality of an in-person event and a virtual event experience, Aux Immersive Studio aims to stimulate further possibilities for immersive learning, virtual merchandising and events, audience interaction and brand activation.” Aux Immersive Studio comprises three spacious, acoustically treated rooms which have been created by configuring its existing 377m2 space. The setup allows immersive environments and graphics, such as lifelike animations or data overlays, to be rendered in real time around the presenter. Unlike traditional formats where the presenter needs to memorise tracking patterns, XR creates graphics that are also visible and can be interacted with on the studio set by the presenter, creating more engaging visual content and dynamic storytelling. The technology can be applied to a wide range of market sectors, including education, training, retail, marketing and entertainment to present content or livestreaming events to audiences. To equip the studios, Aux Media Group has invested in a host of XR equipment, including motion trackers, multi-cameras and livestreaming technology. This includes equipment from Panasonic, RED, Mo-Sys and a digital Rivage mixing ecosystem from Yamaha Music (Asia). The Rivage package comprises CSD-R7, CS-R5 and CS-R3 control surfaces paired with Yamaha’s new DSP-RX engine. The RPio stagebox is fitted with 64-in/32out and RIO3224-D2 and RIO1608-D2 I/O stage racks. Inserted with SWP2-10SMF switches and HY144-D-SRC audio interface cards, all three consoles connect to the racks over a 96kHz Dante network, handling up to 144 input and 144 output channels. Yamaha HY256-SMF digital I/O cards provide a secondary TWINLANe audio network protocol for accommodating up to 256 simultaneous I/O channels. The partnership with disguise makes Aux Media Group the first to deploy a truly collaborative digital experience, not just in Singapore but across Southeast Asia. “Housing all these next-

Content creators can bring their presentations to life through XR generation digital tools in a single facility under Aux is in line with our goal to be a one-stop agency partner,” concludes Choong. “From the most spectacular and imaginative showcase to the most intimate and detailed dialogues, Aux Immersive Studio will create bold and better experiential solutions for outreach and engagement, helping our clients realise their vision.” The transformation of Aux Media’s production capabilities into an XR broadcast suite doesn’t just represent a significant financial investment for the group during a stagnant year. By demonstrating an acute vision that should propel Aux Media Group forward through the coming decade, Choong has displayed courage in his convictions. www.aux.com.sg www.disguise.one

Immersive environments can be rendered around the presenter

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RAV2 The core of next generation‘s audio products

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BUSINESS: COMMENT

A letter from America

Freelancing isn’t free, claims Dan Daley, as the loss of income for live events workers mounts up

CORONAVIRUS HAS COMPLETELY SHUTTERED THE LIVEevent industry, and with it the music and theatrical touring sectors. In the US alone, according to Save Our Live Events, a coalition of major live events producers, more than 77% of live events workers, numbering in excess of 12 million, have lost 100% of their income during the pandemic. But as grim as that’s been, we’ve also seen a remarkable outpouring of support for the technicians and other craftspeople who are its human infrastructure. While musicians put out by the pandemic could look to resources such as Spotify’s Covid-19 Music Relief project and Grammy’s MusiCares, their sound, lighting and video staff are being recognised far more than they had been in past downturns. Most notably, Live Nation – whose own revenues for Q2 of 2019 dropped 98% from the same period in 2019 – committed US$10 million to Crew Nation, the non-profit created by the world’s largest concert producer intended to offer financial relief to those tradesfolk. Another fund, Roadie Rescue, launched to help raise $250,000 for those freelancers. The outpouring of concern for the plight of event and tour technicians has been heartening, as has the infrastructure that rapidly assembled around it, and speaks reams about the generous nature of this side of the industry. On the other hand, though, it also reflects the fact that in the US, such a large percentage of those technicians and other

specialists live constantly on a tenuous ledge in the first place. Unlike, say, France, where a social support net for the selfemployed is built into the system through its micro-entreprise component, the US continues to treat the freelancers who make up the vast majority of touring and event specialists as itinerant labourers, forcing them to find their own healthcare and disability insurance, which are taken for granted in the UK, the EU and just about everywhere else on earth you don’t have to trap and kill your dinner nightly in order to feed a family. It was only after the onset of Covid that the federal government allowed states to let freelancers apply for and receive unemployment insurance, grudgingly at that, in some states. In other words, it’s taken a disaster on the scale of the pandemic to reveal the shakiness of the ground that AV freelancers walk on daily. When things are good, as they have been for much of this century for live events, touring and concerts, they can be very good; but when they get bad, like they have now, they can be catastrophic. If every disaster is an opportunity, as the fabulously wealthy John D Rockefeller once pointed out (and as the not-sopenurious UK PM Boris Johnson echoed last year), then we’ve been squandering a hell of a lot of opportunities to not make being in this industry a crap shoot.

A letter from Europe

Hopefully, a new administration in Washington can change that. But history tells us not to hold our collective breath. Instead, the freelancers who are the backbone of the live event and touring businesses need to better position themselves for storms like this one. Yes, unionised workers have some protection, but they represent a tiny slice of the industry and are concentrated in the big media centres like New York and Los Angeles. And even that protection is limited – no union war chest could withstand a year’s plus worth of zero revenue. The displacements and worse seen in 2020 could have been greatly prevented with some forethought, social unity and political leadership. Social welfare systems that other countries in the world routinely have in place would have gone a long way to ameliorating the pain touring’s technical family is experiencing in the US. There’s no panacea; they’re hurting even in places that don’t treat freelancers like refugees. But the cliffs they’re falling off of elsewhere are not nearly as high as they are here. We’ll see if things change next year. There will be a vaccine; music and theatre will rise again. But without fundamental changes in how our industry’s workers are regarded and treated, it’ll just be 2020 – or 2008, or 2001, or 1929 or 1918 – waiting to happen all over again.

Phil Ward attempts to define what “culture” means and if it can be rescued once pinned down THE FAMOUS ANGLO-AMERICAN POET TS ELIOT WENT TO great lengths to try and define the word “culture”. He was one of the first to suggest that it should encompass the ordinary things that ordinary people like, and not just posh stuff like poetry. On behalf of the English, he included things like “the cup final, the dog races, Wensleydale cheese,” and “boiled cabbage cut into sections”. He also threw in Gothic churches and Elgar, so he was hardly an arch populist. The European governments of today are trying to follow suit as they attempt to buttress the economy against Covid-19, but there are huge anomalies. France and Germany are being especially generous – the UK less so – while the Hungarian government has been exposed as funding only those “cultural” projects that artistically express the not-very-hidden agendas of … the Hungarian government. Our industry is nothing if not the broadest of churches, equally dedicated to the service of pop music and opera, burger joints and basilicas, classical music and comedy. As far as the technology is concerned, everything is an application, of one kind or another. So, it would seem, no sector is either more or less deserving of financial support. You can’t – or shouldn’t –

argue that the Royal Albert Hall in London is a worthier cause than the Royal Vauxhall Tavern, where, as I write, drag queen Charlie Hides will be hosting the Tavern’s camped-up Halloween Bingo. “For safety,” says the programme, “please bring your own lucky dabber”. The French are calling their rescue package France Relance, or Relaunch, and are throwing €2 billion at it. €200 million of this is specifically for music, plus another €100 million to compensate for “operating losses” – which is how venues, orchestras, ensembles and other vehicles of the sonic arts may just secure enough largesse to survive. In Germany, an astonishing 15% of the €1 billion Neustart Kultur handout is exclusively set aside for live music, by which is meant venues, festivals, promoters and agents. Even more remarkably, the total fund for adapting and preparing cultural institutions for a post-Covid, safe and hygienic relaunch in Germany extends to €450 million, over the next 12 months, and this is for the private sector, not those places already supported by the public purse. It is claimed that grassroots music venues are being taken just as seriously as the conservatoires, and it’s clear that the body representing

them, LiveKomm, is participating in the negotiations. “Culture is not a luxury that you can only afford in good times,” says Monika Grütters, Germany’s federal commissioner for culture and media. The EU’s independent culture agency Creative Europe has made its own gesture by fast-tracking a pre-existing €48.5 million grant to which many cross-border arts projects have already been applying, which for obvious reasons is of absolutely no help to the UK whatsoever. In fact, it’s in the UK that you do see the yawning gap between the institutions – Halloween Bingo or no Halloween Bingo – and the rank-and-file freelancers who keep slipping through all these nets. One report suggests the permanent loss of 170,000 sector jobs by the end of the year, like so much boiled cabbage cut into sections. In case you were wondering, a lucky dabber is simply the spongy pen filled with highlighter ink that you use to mark the numbers on your bingo card – if your number is called out, that is. If it isn’t, you’re left with nothing. At which point, you have to hope that the Royal Vauxhall Tavern’s LGBT cabaret offers up enough culture to make the evening worthwhile. Let’s face it, it’s all a lottery anyway.

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BUSINESS MUSIC

COMPLETE AUDIO SOLUTIONS

RCF Business Music offers a complete range of products to design audio systems for background and foreground music in public spaces. High audio quality and a flexible architecture, allowing the distribution of different audio programs in multiple environments, each with specific acoustic requirements. From small to large systems, the RCF Business Music line provides the smartest solution, blending uncompromised sound quality, full processing features, exceptional power, easy configuration, and high scalability.

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21/12/2020 13:02

BUSINESS: COMPANY PROFILE

Localise to globalise Vega Global celebrated its 30th anniversary in 2016

Originating as a local distributor of AV equipment, Vega Global has now evolved beyond the remit of standard systems integrator. Richard Lawn finds out how planned expansion in 2020 has worked out for the group

Laurie Chow formed the company in 1986 from an office in Kowloon

STARTING HIS FLEDGLING COMPANY, VEGA TECHNOLOGY, in 1986 from a Kowloon office, Laurie Chow gradually transitioned his business from a purely distribution model, offering advanced technology and solutions to customers with AV/IT requirements. This customer-first ethos has established Vega as a leading multinational pro AV/IT company with a roll call of corporate clients. Over the past decade alone, over 20 branch offices have been set up across APAC and Europe, with a commensurate staff of over 600. The group’s presence in 16 countries worldwide includes operations in Australia, Bulgaria, China, Hong Kong, India, Indonesia, Japan, Korea, Macau, Malaysia, Philippines, Singapore, Taiwan, Thailand, UK and Vietnam. “Our local satellites have their own legal entities, feet on the street and full local capabilities,” explains deputy chief executive officer, Matthew Deayton, who joined the Hong Kong management team in 2015. “As a result, we command a very strong language and cultural understanding of how to do business in those places. Vega Global has been blessed with drawing in a group of loyal and skilled individuals. But it was the strength of our relationships with the large multinationals and corporate clients that gave us the confidence to spread our network.” However, rapid expansion over the last decade was taking its toll. “It’s a typical story in the AV industry, whereby a successful business owner has run his course,” continues Deayton. “The business revolved around Laurie, followed by an executive of three that supported him. Despite having no board of directors, no management team or structure in place, the business had grown to a size where cracks were starting to appear. When I first came on board in 2015, Laurie made it clear that he was looking for an exit strategy. Although we had more than doubled our revenue between 2015 and 2020, the risk being carried by one person can be extremely stressful.”

In January 2020, before the world could gauge the scale of what was coming, Global Vega announced that private equity firm Baird Capital had acquired a large stake in the group. Deayton and Chow had spent two years preparing the next chapter, arranging capital investment to back up ambitious five-year plans as well as significantly recalibrating the management structure of the group. “We formed a board of directors that would provide a strategic direction and a management team beneath that,” explains Deayton. “Laurie is now the CEO and I am deputy CEO. We have also created CFO and COO positions taken up by Colin Wong and Paul Cullum, respectively.” With over 20 years’ experience, Molly Chow took on the role of executive director. “Molly focuses on our Greater China operations where there is a significant amount of growth occurring annually. Below that, we have got a service delivery director, a global account director and global business director. As the AV industry has become an integral part of the IT infrastructure, we appointed Heather Li as the director for digital workplace solutions to work with manufacturers and platform providers to deliver digital workplace solutions.” As Vega Global prepared for its next stage, Covid-19 took hold. “As a systems integrator we are in a reasonably comfortable situation, as we are waiting to react to those decisions our clients will eventually take,” says Deayton. “It is a lot more difficult for a manufacturer as they need to project market demand and have products ready to support that demand. We have probably gone through a decade of evolution this year. Luckily, we had so many components in place to ensure we were equipped for this technological acceleration. However, we had to tailor each business according to the jurisdictions operating in each country, with varying impacts of Covid-19 lockdowns in place. Our

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BUSINESS: COMPANY PROFILE expertise in unified communications together with the strong infrastructures in our office setups meant we could easily adapt to working remotely.” Deayton admits that the pandemic has inevitably slowed forecasted growth. “Although we are still on target to achieve a similar revenue to 2019, we’re not growing at the rate that we had anticipated before. Macao was a location where our revenues have been hit a bit harder than others. Initially, we could not get onsite to complete projects. Until better times come, we are completing the existing legacy projects.” Both Japan and Singapore have suffered downturns. “A lot of projects that we had on the books in Japan have now been pushed forward to 2022. Singapore was hit quite hard in terms of revenue, because they endured a very controlled lockdown that lasted for about eight weeks. Our installation teams could not get onsite to finish projects and our sales division was housebound. However, we have ridden the bumps reasonably well in Hong Kong, China, Taiwan and South Korea.” Surprisingly, business for Vega Global’s Mumbai office has been robust despite India’s lengthy lockdown. “Our primary business in India is in the large multinational sector rather than SMEs (small- and medium-sized enterprises). A lot of those projects are part of bigger programmes on large campuses, which have not really been put on hold. Those budgets have been committed from three- to five-year periods, so we’re part of an overall programme going forward.” Having long extolled the virtues of video conferencing and unified communications, Vega Global had unwittingly futureproofed itself and its clients for Covid-19. “Everybody was ready to work from home and we had contingencies that we could put in place very quickly. On the other side of the coin, a lot of our clients are top-tier multinational businesses which we have worked with for many years. As we had installed infrastructures for them, they too could respond to the situation fairly rapidly. We have experienced mixed business continuity across our network of offices as different locations have been in different phases of lockdown or partial lockdown at different times. The diversity of our office network has allowed us to navigate our way through these challenging times.” While different cities demanded different responses, Vega Global’s general support involved helping their clients giving staff the tools to work from home, including basic USB cameras and microphones. “We had to deploy and roll out these systems

Vega works with many corporate clients in Hong Kong

Vega Global’s deputy chief executive officer, Matthew Deayton

Rosewood Hotel, Hong Kong

for them, making sure that our engineers could legally operate infrastructures onsite. Larger clients with a remote managed service in place or an in-house managed service team onsite now truly value the infrastructures we have installed over the years.” The Covid-19 switch operation has, without doubt, accelerated the technological path that Vega Global and others embarked on long ago. “End user demand has driven the uptake of these technologies and perhaps would not have come about if Covid-19 had not affected us all. The technology already existed, but the adoption rate was low. These technologies were exhibited at ISE and InfoComm and you would see smarter clients at these exhibitions embracing and deploying the solutions following demonstrations. The main challenge until now has been getting end users to hold meetings on Zoom or other platforms as many prefer to have face-to-face meetings. The virus has crystallised the necessity to have an infrastructure in place that will allow teams located in disparate places to continue operating.” Vega Global may be a solutions provider, but it was also guilty of operating like most end users prior to Covid-19. “Today, virtual seminars have evolved with the creation of breakout rooms within a conference in progress. This engagement is so impressive that we have adopted some of these internally

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BUSINESS: COMPANY PROFILE now. For example, when we hold our regional sales meetings, we get together as a group with a general sales update before we break off into smaller groups, which we deliberately mix up. Team members from all our offices enter different meeting rooms to discuss specific subjects, before reconvening at the end to share their ideas. We also record the information, which is something we were not doing prior to Covid-19. So internally we have all the sales teams from all our locations working with one another and sharing knowledge. This is an interesting development as it simply utilises tools that we were already familiar with.” Deayton has discovered that larger corporations have experienced less significant delays to their projects than the SME sector. “In Hong Kong, for instance, we cover quite a broad spectrum of the market from multinationals to SMEs, schools and government. The SME sector here has gone very flat, but government and education spending has been quite robust. In response to students learning from home and with Zoom becoming commonplace, we are working with a couple of manufacturers to create innovative solutions, particularly in the tertiary education sector. Universities and polytechnics require virtual classroom arrangements that are much more tailored to dealing with sections of the faculty physically outside of the main campus. We are working on some interesting remote solutions in addition to hybrid solutions with some students in the classroom.” In August 2020, Vega Global announced a strategic alliance with US-based AV systems integration giant, AVI-SPL, which will see the two companies collaborate on joint go-to-market strategies together with increased integration of delivery operations. “The AVI-SPL relationship has been running for around 10 years,” says Deayton. “We had been supporting AVI-SPL clients entering into Asia until about four years ago, when we signed a strategic alliance. Although this was perhaps a marketing exercise, it signified the start of a commitment to mutually cooperate with one other. This latest mutually beneficial agreement is a slightly more robust alliance, although it is not a fully exclusive deal and allows both of us to use other systems integrators, providing we are both transparent. We want to avoid margin stacking so this commercial arrangement is efficient. Both sides benefit and the client gets a more competitive price.”

K11 Musea shopping mall, Hong Kong while good transport networks enable shorter commuting times, so employees want to come to the office as it is more productive. There is a desire for face-to-face contact, so workers still want to gravitate to the office, but that doesn’t mean they need to go every day. Many of our clients are waiting to see how the return to work is going to be before making key decisions, including giving up part of their campus or office spaces.” Although Vega Global opened a Tokyo office 10 years ago, expansion has led to the planned opening of a new branch in Osaka. “An increasing number of clients are based in Osaka and, in order to improve our efficiency and reduce the need for travelling between the two cities, establishing an Osaka base is planned for early 2021. A lot of multinational businesses have set up shop in Osaka as it serves as a regional hub for other cities. Over time we will grow our presence, but for now we have

Marriott Ocean Park, Hong Kong Deayton and his team have been tasked to provide annual forecasts for the Baird Capital board. “Some clients that are quite organised give us a vision of how they are going forward, but most are unsure what their next steps are going to be. Most large corporates are starting to accept that their workforce is going to return to the office at some point, but they cannot forecast when and in what format that will be. There is a lot of debate around what the future function of an office is going to be over the medium term. Personally, I believe that we will return to a point we were at before the pandemic.” However, the return to work will vary according to differences in culture. “In a lot of Asian countries, working from home is not as productive as in the West because of multi-generational living. Apartments are quite small in Singapore and Hong Kong,

a simple, serviced office with a small, dedicated team, which will be the base for our Tokyo engineers for some projects.” As the Mumbai office focuses on large multinationals, the company has been increasingly supporting client projects in Dubai, and Vega Global has now acquired a licence and bank accounts for its newly established UAE operation. For now, Indian managing director, Blessing Joseph, is overseeing a small team to manage ongoing or planned projects. “Our next objective is to obtain a Free Port and an Onshore licence and run the two operations together. Rather than compete with the status quo, Vega Global has been compelled to set up there on behalf of global accounts. Beyond UAE, I expect we will support projects for our existing clients in Qatar, Bahrain and other parts of the Middle East.”

Deayton is keen to highlight that expansion into virgin territory is organic. “The region has rapidly matured and is well serviced, but we do not really envisage Dubai as being a massive part of our operations. We do, however, see opportunity in some of the wealthier North African countries with younger population demographics where forecasts indicate rapid growth. As they start to mature, we intend to support our clients in these territories. Dubai will serve as a stepping stone as the state is geographically close to these markets.” Vega Global is also establishing a legal entity in New Zealand to oversee projects. “This is a client-driven initiative and will be managed by our Australian operation. And although we already have small operations in Vietnam and Thailand, we identified potential growth in the hospitality sector there prior to Covid. Once some semblance of normality with travel and tourism returns, growth will surge ahead.” Despite national anomalies throughout APAC, the group has largely been dominant within corporate and government sectors. While different countries are at different stages of their evolution or growth, the digital workplace is destined to grow, and the group is now equipped to capture a broader spectrum of other sectors. “I think a lot of the skill sets we have acquired within the business and corporate sector dovetail into these industries. It may be more challenging to make inroads into areas such as the medical world or stadiums where we traditionally don’t have a lot of experience, but certainly in hospitality and retail, we have a lot of transferable skills and I think it’s a natural fit for us.” With its 35-year pedigree, Vega Global is well represented across all the verticals in Hong Kong, including hospitality. “We have worked with many hotel groups over the years and our operation in Macao is heavily involved in the hospitality sector. In recent years, we have expanded into other territories including Vietnam and, to a lesser extent, Thailand, no doubt helped by the great relationships we enjoy with Hong Kong-based hospitality consultants such as SMW and IHD. If the project we are tendering for is a design-and-build mode, we do not step on the toes of our consultant friends; we leave the pure consultancy work to them.” Despite the challenges of 2020, Vega Global predicts turnover will more than double over the next five years. “Baird Capital has given us the financial stability and backing to take us to the next stages of growth over that period. We are now probably the largest systems integrator in Asia Pacific, which is a similar size to the US market. However, we are roughly 10% of the size of AVI-SPL, so there’s plenty of headroom for us to grow into. There are more obstacles to overcome as Asia is a lot more complicated, politically and geographically speaking, but we possess that local knowledge and experience.” In a year when Covid-19 has drastically altered the landscape of the AV industry, Vega Global is proof that what doesn’t kill you can only make you stronger. www.vega-global.com

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BUSINESS: TECHNOLOGY

Music is business is pleasure

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RCF created the Business Music family for scalable applications

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The extensive RCF site on the outskirts of Reggio Emilia

Francesco Venturi from RCF’s engineering support group

The RCF Academy is home to the marketing, sales and training teams

Richard Lawn visits RCF in Reggio Emilia to find out about the development of its Business Music Solutions MUSIC, EVEN WHEN ONE IS BARELY AWARE OF IT, IS A powerful medium that plays an often-subconscious role in experiences as diverse as shopping in the supermarket, choosing from a restaurant menu or sipping tea in a café. Operating within a broader package of “experiential design” or “sensory marketing”, the background music (BGM) industry is constantly deciding what we hear as we go about our everyday business. Naturally, an increasing number of audio manufacturers have tapped into this to deliver scalable audio solutions. With the advent of its Art series a quarter of a century ago, RCF took the leap from transducer and speaker components to portable loudspeaker manufacturing. Since then, the assembly lines in Italy’s Reggio Emilia have expanded as a generation of loudspeakers designed for musicians, systems integrators and all manner of venues has kept pace with growing demand from the company’s export markets. Following a route upstream from the mouth of the audio signal chain, RCF has added amplifiers, electronics, mixers and even microphones that, when combined, deliver solutions. The development of the proprietary RDNet RS-485 communication protocol over the past decade creates the sum of the catalogue’s parts. Designed and developed by RCF’s engineering team, RDNet was initially made available as a download to support the network management of the TT (Theatre & Touring) loudspeaker series. Live sound technicians immediately benefitted from managing and controlling speaker systems remotely with stored presets and

The large demo room is a focal point of the RCF Academy a real-time feed of status updates. Following on, the various R&D divisions increasingly incorporated communication boards, micro-controllers and DSP into new “intelligent” RDNet-compatible devices. New to market perhaps, but the various products grouped under RCF’s Business Music Solutions (BMS) umbrella have been many years in the making. In addition to DSP development and firmware, R&D at RCF incorporates specialised engineers working in the electro-acoustic, amplification and electronics engineering departments. The Reggio Emilia technicians have collaborated to produce a family of commercial audio systems configurable for both

background and foreground music that tick the relevant boxes for interior designer, systems integrator and end user alike. The BMS catalogue offers a four-zone management solution for music reproduction, with paging and remote control. The scalable and flexible architecture can be applied to all manner of applications, regardless of size, for distributing several audio sources in multiple environments, each with specific and configurable volume and equalisation features. Having created a microphone and a paging console, RCF is also developing new speaker systems that will maximise the appeal of the series across a wide range of applications. Francesco Venturi is involved with the Engineering Support Group (ESG), which has traditionally focused on RCF speaker systems. Most recently, the team has been tasked to manage the fortunes of the BMS platform. “RCF is a recognised brand leader with solid experience in pro audio, live, fixed installation and public address,” he comments. “The ESG was created to offer added-value expertise to our customers in these sectors. Our technical support activities in foreground applications, where the demand for quality, flexibility of installation and scalability has matured in recent years, will now be applied to more costconscious applications using our BMS products.” If RDNet is the lifeblood, then the two-channel digital mixing amplifier (DMA) lies at its heart. These controllers include full processing features, a four-channel output matrix and two amplified channels of 80W each for the DMA 82 model and 160W per channel for the DMA 162 model. The third DMA 162P device serves as an extension unit, which can either expand the

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BUSINESS: TECHNOLOGY power on the same channel or scale up the system to a full fourzone platform. Given their intended markets, the moulded IP-30 housings of the DMA units combine aesthetics with functionality. Measuring one half-rack unit in width and a single unit in height, the rack-mountable mixers can also be displayed as stylish standalone devices on bars or easily concealed under restaurant reception desks. The amplifiers are loaded with specific factory DSP presets, including FIR filters, hi-pass, parametric EQs and high shelf settings. An OLED display serves as the focus of the front panel interface from which the user can configure settings, although this can be bypassed with the insertion of an optional board allowing remote RDNet control. “Room correction can be achieved quite easily by adjusting the parametric equaliser,” continues Venturi. “In addition, the speaker presets allow quick optimisation. The pre-loaded equalisation packages are designed to optimise the performance of any RCF speaker, whereby users can recall presets from the front panel interface or via RDNet.”

RCF cabinet production takes place in a separate factory unit The systems integrator will be drawn towards the rear panel equipped with two stereo line RCA connector inputs, a balanced mic/line and a dedicated paging input gain (mono/ stereo). Outputs include select gain (mono/stereo), a fine setting hi-pass filter, speaker presets and a dedicated line connection for an active subwoofer, should one be required. Furthermore, a remote mute command is available for connecting the device to a voice alarm system. “Some key features integrated into the BMS processing such as FIR filtering have been developed from our expertise gained in other market segments,” explains Venturi. “For some applications, it may not be possible to install a subwoofer owing to visual, space or price constraints. Therefore, we added a bass enhancer algorithm into the DSP for extending the lower frequency response on each transducer, regardless of the size. The processing can be further enhanced by activating the factory presets, which can then configure the behaviour of any RCF speaker system.”

The DMA 162 two-channel digital mixing amplifier lies at the core of BMS Various permissions can be created for unlocking certain parameters in a facility, such as processing or channel configurations. A more advanced user or an installer can unlock and access more parameters by activating a password from the front display. “For foreground music in certain retail applications, the ability to quickly configure and replicate a setup is a key benefit for the end user. We also added a 3.5mm input onto the front panel for the duty manager to plug in a smartphone as an added source.” Equipped with on-board signal processing, the digital power amplifier or DMA 162P satellite increases the installed power in a multi-room architecture. Routed to power outputs via DIP switches, the DMA 162 receives processed or flat audio signals, according to a selection made available to the user, from the four-channel bus such as a DMA via Cat-5 cabling or a local stereo input. DSP configuration and presets can be applied via RDNet and each unit can manage two mono or single stereo environments. Basic volume control and source selection can be operated from the RC 401 remote control wall-mounted unit, while the BM 404 paging console can be used in conjunction with the DMA units for zonal announcements. Capable of managing up to four zones, up to four BM 404 paging consoles can be daisy-chained together. Ceiling-, wall- and surface-mounted speakers combine industrial design with impressive frequency response, wide directivity and high efficiency ratings. The 4-, 5- and 6-inch models are available both with and without 100V/70V line transformers. In addition, several higher value models have been developed for more specialised applications. For example, the MF 33EN is a discreet ceiling speaker designed for recesses in false ceilings or panels offering a 100° x 160° (HxV) coverage angle for both 8Ω and constant voltage lines. The self-extinguishing EN54-24 certified design has been tuned for highly intelligible voice reproduction, making it ideal for voice alarm and evacuation messages. Connected devices that are networked into the RDNet environment can play a role in theatre and stadium design. “A venue that combines BMS devices for back of house BGM in combination with TT or HDL professional products in the main theatre is an interesting setup,” says Venturi. “The BMS manages the foreground distribution plus paging in addition to RDNet monitoring facility of the whole installation from a single location. The controller makes a TCP IP port available to a dedicated switch over the local area network, allowing paging

and BGM to extend to the theatre or vice versa with live material transmitted outside the arena or theatre. Future-proofing is assured as software and firmware updates can deliver new features over time.” BMS is more than just a catalogue of Energy Star-certified products. “With the development of BMS, systems integrators and consultants expect technical support provided by the ESG. There are two sections, with one group mostly focused on the pro audio live sector and the other involved with fixed installations and projects. The two groups work together by sharing experiences and knowledge to provide technical and application engineering support.” The ESG can be involved from the very preliminary design stage, providing electro-acoustic modelling such as loudspeaker recommendations for the application. Technical support is then granted, even during the installation phase. Finally, the optimisation and configuration of all the components is supported during the commissioning support sessions, either onsite or remotely via RDNet. “This is a key feature currently, given the current Covid-19 restrictions in place,” Venturi emphasises. Like the music it consistently reinforces, RCF’s ESG can either operate in the background or adopt a more prominent stance. www.rcf.it

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NEWPRODUCTS

INSTALLATION • AV • LIVE SOUND • BROADCAST • POSTPRODUCTION • RECORDING • LIGHTING A–ZCONTENTS

The APx517B paired with a GRAS 45CA headphone test fixture

Redefining acoustic testing Audio Precision’s APx517B acoustic analyser has been designed specifically for the production-line testing of speakers, microphones, headphones and headsets

APx517B ON A production line, any time spent setting up a new test system, calibrating a system for a new shift or reconfiguring a system for a change in DUT (device under test) means that production is temporarily halted. Audio Precision has designed an all-in-one solution, the APx517B, to reduce setup and reconfiguration time by eliminating multiple individual components (from a variety of vendors) and their associated cabling. Unlike those individual components, the APx517B is delivered with an accredited ISO/IEC 17025 calibration to ensure the quality of obtained results. According to the manufacturer, most, if not all, current acoustic analysis systems are an assortment of individual components from different vendors. As such, one of the risks of these systems is the quality and reliability of each component, along with the configuration of each connection point. The APx517B

is an integrated system engineered and assembled to the same standard as all other APx analysers and is delivered with a three-year warranty. In its base configuration, the APx517B is a ready-to-go system for measuring analogue equipment. For digital devices, the APx517B has a module slot for the addition of a single APx digital interface module, of which there are six in total, Digital I/O, Bluetooth, Digital Series I/O, PDM, HDMI or PDM-16 input. On the software side, a standard system provides a core set of measurements and functionality to allow out-of-thebox, fundamental testing of acoustic devices, such as file analysis, sequence mode, input signal monitors (including FFT monitor), level and gain, THD+N, loudspeaker product test (including rub and buzz), stepped frequency sweep, pass/fail and signal acquisition measurement.

As with APx500 Flex, the manufacturer’s APx500 software paired with an ASIOcapable audio interface, a trio of Flex Packs is available for the APx517B, each offering different groups of more advanced measurements. Perceptual audio measurements – including ABC-MRT and POLQA – can also be used with Flex. For users that need the base configuration plus just one or two more measurements, an à la carte menu of measurements is available. Audio Precision reports that APx500 Flex remains the best solution for analogue-only test applications but for midrange analogue test and digital test applications, such as Bluetooth headphones and smart speakers, the APx517B is the preferred solution. APx500 software release 6.0.1 is also available for download by APx B Series or Legacy analyser users with a valid 6.0 licence and is compatible with all analysers in the APx500 Series (note: an APx KeyBox is required to run v6.0 on Legacy APx analysers). As with all other new APx analysers, the APx517B ships with version 6.0.1 software and one year of software maintenance, licensing the instrument for APx version 7.0 when it is released, as well as any releases between versions 6.0 and 7.0.

ADJ Encore Profile Pro 101 AJA Bridge Live/OG-Dante-12GAM 97 ARX Systems USB DI-Q 87 Ashly Audio AquaControl update 93 Atlona AT-USB-EX100-KIT 90 82 Audac Kyra12/Lino series Audio Precision APx517B 79 Avolites Prism Player/Titan v14 98 80 B&C Speakers ME464 Barco RGB Laser ODL series 94 96 Blackmagic Design ATEM Mini Pro ISO Bluesound Professional BSP1000/BSP500 82 Bose L1 Pro 80 Broadcast Pix v8.0 software 97 Chauvet H-55FC/COLORado Batten Q15 99 94 Christie Access II Series/CounterAct Claypaky Axcor Profile 600 Teatro 98 Crestron Creston One 90 d&b audiotechnik Fanblock 91 Datapath IQS4 98 Dejero WayPoint 50/CuePoint 50 97 Digital Projection M-Vision 23000 95 DirectOut EXBOX.RAV/DANTE.SRC.IO 90 DPA Microphones 4098 Core 82 Dynacord Sonicue v1.2 92 Elation Fuze Wash FR/Polar Crisp Max 100 ETC fos/4 Fresnel/ArcLamp Flicker 100 Eventide Generate/Undulator 91 Extron DTP2 R 212/DTP2 R 212 SA 88 Focusrite RedNet R1/Red 8Line 87 HK Audio Move 8/Sonar 110 Xi 81 JBL IRX115S 80 L-Acoustics Contour XO 85 Lavoce DN14.300T 81 Lawo theWALL version 4.4/VSM 2020-2 93 Lectrosonics DCR822 85 LG Magnit 94 MA Lighting grandMA3 onPC fader wing 98 Magewell Pro Convert for NDI to HDMI update 98 Merging Technologies Merging Audio Device (MAD) 93 Meyer Sound Spacemap Go 91 86 Outline L3000 Panasonic PressIT/EasyIP+ 86 Pioneer XY-1/XY-2E 81 Powersoft ArmoníaPlus v2.0 92 PR Lighting Aqua Marine 580 BWS and Beam 100 PreSonus PD-70/CDL12P/Eris Sub8 84 Prolights EclPanel TWC/EclPanel TWCJr 101 QSC Cisco In-Room plug-in 91 RCF DMA 82/DMA 162/DMA 162P 80 Røde VideoMic NTG MFi-certified/SC15 84 Roland WM-1 Wireless MIDI Adaptor 86 96 Ross Video TouchDrive/Lucid/Ultrix V4.4 RTS OMS (OMNEO Main Station) 89 Schoeps CMC 1 L 83 Shure MXC605/DCS-LAN Tool 84 Sony Bravia 4K HDR/BZ40H series 94 Soundcraft Nano Series 85 Studiomaster ClubXS+ 85 Symetrix Composer 8.0 92 Tasker TSK1038 86 TSL Products MPA1-SOLO-IP 88 83 Vaddio EasyIP CeilingMIC D Vivitek DU4371Z-ST/DH3665ZN 95 Waves Audio DSPRO StageGrid 1000 87 Wohler Technologies Dolby Atmos added to iAM-12G-SDI 88 Xilica Solaro update 93

www.ap.com

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PRODUCTS

Bose launches L1 Pro DRAWING ON technology developed 17 years ago with the release of the original L1 system, the L1 Pro series consists of the L1 Pro8, L1 Pro16 and L1 Pro32 with a choice of two modular subwoofers, the Bose Sub1 and Sub2. Features include 180° horizontal coverage and RaceTrack woofer integrated into the Pro8, Pro16, Sub1 and Sub2. According to Bose, the slimline design of the RaceTrack driver provides extended base response and less bulk, making the subwoofers easier to transport, carry and fit onstage. Built-in multichannel mixers provide EQ, reverb and phantom power, and Bluetooth connectivity allows streaming and access to the Bose library of ToneMatch custom EQ presets. The systems are designed to offer flexibility to artists and venues alike, with the portable Pro8 suited to intimate rooms, the Pro16 for small-to-medium spaces and the peakperformance Pro32 for large audiences. A modular design facilitates packing, carrying and system setup, while the L1 Mix app allows

7-inch x 13-inch subwoofer with RaceTrack driver. The 24.4kg Pro16 has 16 drivers and a 10-inch x 8-inch subwoofer with RaceTrack, while the 32-driver, 13kg Pro32 can connect via a single cable to the Sub1 or Sub2 modular subwoofer, both of which feature RaceTrack drivers and SubMatch connectivity for power and audio. Two subwoofers can be combined, and cardioid mode deployed for directional performance.

users to adjust mixer settings via phone or tablet from the stage, with the ability to change volume and tone settings in the app. Designed to provide musicians and performers with added control, the L1 Pro family delivers more output and bass extension than the original L1 system and doesn’t compromise on portability. The expanded I/O features and integrated ToneMatch technology allows users to quickly optimise the sound of their instruments and microphones. The introduction of the L1 Mix app provides complete wireless control of all mixing functionality, including volume and tone settings from a mobile device in sync with the mixer. The L1 Pro8 C-shaped line array weighs 17.7kg and features eight articulated 2-inch neodymium drivers and an integrated

pro.bose.com

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JBL extends IRX series OPERATING WITHIN a frequency range of 35Hz – 147Hz (–10dB), JBL has added the IRX115S subwoofer to the IRX series of powered loudspeakers. Incorporating a customised 15-inch woofer with a 3-inch voice coil and driven by a 1,300W amplifier, the new model is capable of producing a maximum SPL of 128dB. Weighing 29.65kg and housed in an MDF enclosure with a reinforced honeycomb grille, the ported enclosure is designed to optimise system response and reduce woofer noise. Rear panel settings include polarity and

crossover adjustments at 80Hz, 100Hz and 120Hz in a variety of applications. By pairing the IRX115S with the 8-inch IRX108BT and 12-inch IRX112BT powered loudspeakers, the system can benefit from dbx automatic feedback suppression, ducking and EQ presets, while also streaming Bluetooth audio. A built-in pole mount and integrated handles enhance user flexibility and portability.

Move www.jblpro.com

The IRX115S, IRX108BT and IRX112BT

An expanding RCF catalogue FORMING PART of the Business Music range are two new digital mixer amplifiers: the DMA 82 (2x 80W) and DMA 162 (2x 160W). According to RCF, both provide a powerful matrix/DSP platform with recallable speaker presets, while the OLED front panel is said to make the setup extremely user friendly. Configuration can also be performed via the RCF universal RDNet software, using the optional board. Some of the device features can also be controlled from third-party systems via serial protocol. DMA can distribute four audio channels to satellite DMA-P units for “easy installation and scalable architecture”. With on-board DSP, the DMA 162P (2x 160W) amplifier has been designed to increase the installed power in a multi-room architecture. One analogue stereo input and four-channel bus (via Cat-5 cabling) can be

routed to power outputs via DIP switches. DSP configuration and presets are only via RDNet. Each unit can receive four mono or dual stereo channels from the four-channel audio bus, with a local stereo input as an alternative. Line output for the subwoofer is also available. Working in conjunction with the DMA units, the RC 401 remote control and the BM 404 paging console are said to expand the features further. The RC 401 offers volume control and source select, while the BM 404 microphone base can manage up to four zones, with up to four paging consoles connected in a daisy-chain fashion, interlocked. Meanwhile, the Ayra Pro10 Sub is an active reference subwoofer designed for Ayra Pro studio monitors and is also suitable for low-frequency extension on third-party audio systems. RCF reports that the tight

and accurate bass reproduction makes the sub ideal for audio recording, mixing, multichannel systems, desktop use and other creative applications. It is a true active 300W RMS Class-D power amplifier with a 10-inch composite fibre woofer and a 25–120Hz frequency response. The sub comes with a stereo input board, a stereo x-over output, a lowturbulence frontal bass-reflex port and a variable 2nd-order crossover from 50–120Hz. www.rcf.it

B&C creates biggest horn to date BUILT TO extract the full capabilities of B&C’s wide-bandwidth ring radiator drivers, the ME464 has been created as the largest commercially available horn in professional audio. The 575mm-wide mouth loads an attached driver down to 300Hz, while the 1.4-inch throat stabilises a 70° x 55° polar pattern to the upper limit of the hearing range. Constructed of non-resonant polyurethane, the ME464 can be used in high output arrays for both touring and fixed installations. Reduced inter-box interaction and off-axis energy resulting from the tight pattern control enhance audio quality and clarity. The ME464 is the only horn that can support full-frequency response of the Italian manufacturer’s DCX464 coaxial driver.

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PRODUCTS

HK goes forward with Move 8 HK AUDIO has extended the Premium PR:O series of loudspeakers with the addition of a high-performance, battery-powered version. Equipped with a 60W Class-D power amplifier, 8-inch bass woofer and 1-inch tweeter horn, the low-resonance MDF wooden cabinet can be deployed as a floor monitor or on a stand or table. The portable 8.5kg cabinet comes with an integrated handle and operates within a 65Hz – 18kHz frequency range (±3dB). Move 8 has a slot for two rechargeable batteries, which are either inserted simultaneously to extend the running time or inserted alternately to ensure hotswappable uninterrupted playback. Allowing up to 11 hours of continuous operation, an

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most popular guitar speakers, including the Greenback, V30 and Blue, promoting itself as a partner for mobile guitar preamps. The Move 8 App promotes remote control functionality together with additional features such as a karaoke function with voice cancellation and pitch adjustment and modulation effects for the instrument channel. The German innovator has revealed a series of powered PA speakers featuring moulded plastic enclosures. Complemented by the Sonar 115 Sub D subwoofer, the Sonar 110 Xi, 112 Xi and 115 Xi full-range models integrate a 24-bit DSP controller with colour display. The rear panel connections include two mic lines and a single aux channel together with a three-band EQ on each channel. All settings for the Sonar Xi models can be remotely controlled from a Sonar Remote App; signals can also be streamed wirelessly via Bluetooth 5.0 via the aux channel when using two Sonar speakers. The 115 Sub D subwoofer also features a 24-bit DSP controller with a display for configuring crossover frequency, polarity and delay, together with other parameters and two presets for cardioid operation when using two subwoofers. A network-compatible system subwoofer has been added as part of the Elements family. The E 115 Sub D system subwoofer comprises a 15-inch woofer and a 900W power amplifier that is capable of driving up to three E 835 mid/high units. A new integrated digital controller

Move 8 optional external quick charger provides uninterrupted battery operation. A rear panel four-channel mixer includes microphone, line signals and instrument XLR and jack inputs, with a useful twoband EQ and reverb for each channel. The instrument channels come with their own bass and treble control, together with adjustable reverb. Added for playback devices, an aux channel offers audio streaming via Bluetooth 5.0, in addition to the stereo mini-jack input. The instrument channel activates original Celestion cabinet simulations (impulse response) of the

provides detailed processing of the audio characteristics in both the bass and the mid/high frequency range. In addition to providing full networking capability of several Elements stacks or Linear 7 speaker models, the HK Audio DSP Control Software allows networks to be controlled from the mix position, including volume and line adjustment in addition to full parametric 10-band EQ, tunable high- and low-pass filters, delay times, limiters and other parameters. When connected to a Linear Sub 1500 A via the cardioid output of the Elements E 115 Sub D, the cardioid bass function can focus forward bass radiation with rear bass attenuation of approximately 30dB. Sonar 112 Xi

DEVELOPED TO allow more versatile use of its flagship XY-3B, Pioneer Professional Audio’s XY-1 and XY-2E represent the LF and MHF sections, respectively, and each unit is available in black. Using these individual enclosures enables installers, rental houses and touring companies to build groundstacked point source arrays and deploy systems in venues with low ceilings via a wide variety of configurations. With the introduction of the XY-3B and XY-2 in September 2017, incorporating the manufacturer’s X-Phase system, the release of the XY-1 and XY-2E will give more venues the chance to install an XY Series sound system due to the horizontal array deployment options offered by the new units. The additions can also be used as stage fills, for live PA and DJ booth monitoring. The XY-1 consists of two 12-inch custom drivers in a hybrid dual-chamber configuration – exactly the same as the XY-3B. A hybrid dual 12-inch chamber in the low/mid section reportedly enables the drivers to produce precise notes. Waterresistant treatment allows the LF drivers to deliver a natural tightness rather than using thicker speaker cone material which would

add weight and slow down the speed of the cones. The XY-2E’s 8-inch midrange driver and the 1-inch compression driver are attached to the integrated waveguide with their depths aligned to minimise the difference of physical distance and reduce cancellation around the crossover frequency. This bi-horn combines mid/high frequencies in a deep position inside the waveguide, reportedly improving the blend of the sounds compared to the performance of a conventional separated horn structure. The waveguide’s curved shape controls dispersion at 50° x 35° (HxV), providing natural sound with high SPL in the targeted area while reducing the sound pressure outside that area. The XY-2E offers two different control settings. As standard, the passive crossover option is engaged. Users can then reconfigure the existing cabling and manipulate the 1-inch exit neodymium compression driver and 8-inch neodymium cone driver in a biamp configuration with no need for additional parts. www.pioneerproaudio.com

Next Generation neodymium driver E 115 Sub D

Pioneer adds to XY Series

CREATED TO compete at the premium end of the 1.4-inch exit compression driver market, Lavoce has added the DN14.300T to its Next Generation lineup. The driver incorporates the manufacturer’s patented Integral Input Surface phase plug technology and is said to provide users with a high flux density neodymium driver with evident low distortion and a linear frequency trend to 20kHz. The DN14.300T has a 110W AES power rating, 3-inch edgewound copper-

clad aluminium voice coil, 109dB sensitivity and uses a one-piece titanium diaphragm and surround. With a conservative 1.2kHz recommended crossover point, net weight of 2.1kg, diameter of 130mm and a shallow depth of 51mm, the DN14.300T is a described as a versatile device for a wide range of premium high-per formance install or touring applications. www.lavocespeakers.com

www.hkaudio.com

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PRODUCTS

Kyra’s column rises AUDAC HAS launched the Kyra12 column speaker for a variety of indoor and outdoor applications where clear, intelligible speech is required. Finished in black or white and measuring 70mm x 1,006mm x 101mm (WxHxD), the IP55-rated enclosure incorporates an aluminium front grille, AWX5 waterproof connector and a multifunctional stainless-steel wall bracket for positioning. Within the housing, 12 2-inch coated cone drivers and a multi-tapping 70V/100V line transformer provide 40W, 20W and 10W power taps or connection to low-impedance (12Ω) public address systems. Operating within a frequency response of 120Hz – 20kHz (110dB) and capable of providing 120W of continuous power, the 12 drivers create a beamwidth of 174° x 9° (HxV). Designed for a wide variation of acoustically challenging environments, ranging from speech and announcements to BGM systems, Audac has developed the Lino column speaker series. Rated with a power handling of 40W RMS, the Lino10 comprises 10 2-inch low/mid-frequency drivers with a 1-inch centrally positioned tweeter dedicated towards the high frequencies. The smaller 20W-rated Lino4 model combines four 2-inch low/mid-frequency drives with a 1-inch HF tweeter for the high frequencies. With a 10mm gap between the speaker and the wall, L-shaped brackets exist on the top and bottom of the aluminium extrusions, offering flexible mounting and directional placement options and a vertical inclination of 2°. A multi-tapping line transformer provides connection to 70V/100V public address systems with various power tapping settings, while connections to low-impedance systems are also possible for the 72mm-wide column speakers.

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WITH THE addition of the BSP1000 and BSP500 network active loudspeakers, Bluesound Professional has extended its distributed audio ecosystem for commercial spaces. Available in either a black or white matte finish, both amplified IP65rated models incorporate integrated streaming capability for indoor and outdoor applications. The two-way BSP500 and BSP1000 models feature 5.25- and 6.5-inch LF woofers, together with a 1-inch HF driver for operation within a 63Hz – 23kHz and 45Hz – 23kHz frequency range, respectively. An integral wall bracket allows for wall mounting with 90° swivel and 170° rotation. The BSP series is based on the BluOS platform for playing and distributing content from local network storage and streaming

With the availability of a 2.4 software update, the Belgian producer has added new features for the Touch 2 app. Users can now change the device name, device address, administration and user passwords in the R2 multi-zone and M2 multimedia audio distribution systems. In addition to bug fixes, improved settings and added network configurations have been applied to the AMP523 mini amplifier, APC100 control unit, MTXxx audio matrix, MFA2xx amplifier and BMP40 Bluetooth module. Kyra12

www.audac.eu

pastors and instructors to be heard through the mic as though they are speaking to the viewer/listener directly.”

With Core by DPA technology, the 4098 Core mics repor tedly capture a wider dynamic range so that the 1% THD is now lifted by 8dB to 133dB SPL. It is best suited to the installation market and, with a linear response, low distor tion and large dynamic range, per forms well in challenging environments.

4098 gooseneck goes to the Core DPA MICROPHONES has upgraded its 4098 gooseneck microphone to include its Core by DPA technology. Designed for both podium and conference room micing, the 4098 Core is described as the ideal solution for applications that require high speech intelligibility. “By increasing the dynamic range of the mics, Core by DPA extends the point at which the distor tion is just star ting to become audible,” explained René Moerch, product manager at DPA Microphones. “Incorporating this technology into the 4098 allows presenters, politicians,

www.dpamicrophones.com

BSP1000

ser vices, including some specifically designed for commercial use such as SoundMachine, QSIC and internet radio. While a pair of BSP speakers can be used in common stereo setups, multiple speakers can be configured for both mono or stereo use. When incorporated within a larger networked BluOS system, the BSP500 and BSP1000 can be placed into user-definable groups with other BSP speakers, Bluesound Professional players, amplified players or networkable speakers. Featuring PoE+ or PoE++ one-wire Ethernet connection for both streaming content and power, each speaker can be placed in low-power standby mode. PC and smar tphone speaker management can be accomplished from the Bluesound Professional CP100 wallmount controller and third-par ty control systems. www.bluesoundprofessional.com

The 4098 Core family

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PRODUCTS

EasyIP goes above and beyond COMBINING AUDIO performance with room aesthetics, Vaddio has designed the EasyIP CeilingMIC D overhead microphone. Offering an alternative to custom-installed or table microphone models, ceiling-mounted versions eliminate table clutter in conference rooms and meeting spaces. Adapting to either drop tile ceilings or open-ceiling environments, the EasyIP CeilingMIC D offers 360° pickup coverage for clear coverage of all meeting participants. Connected to network switch ports, multiple ceiling microphones can cover larger spaces. Each hanging spherical unit combines three cardioid microphone elements within a single pendant enclosure. The unidirectional element is further equipped with echo cancellation and DSP in the interface box for parameters such as equalisation, filtering and automatic gain control (AGC). Settings can be managed using Vaddio’s desktop configuration tool with the DSP receiving its AEC reference from the far end before applying it to individual mic elements. Ease of installation is enhanced with a plug-and-play design with a single Cat-5e cable between the receiver and the network switch providing power, control and audio. The EasyIP CeilingMIC D pendant includes ceiling-mounted hardware

and a 900mm adjustable drop cable, which can be extended to 4.6m from the interface box. The addition of Dante Controller software extends remote routing and system configuration.

Size doesn’t matter for Schoeps FORMING THE world’s smallest modular studio microphone for use in film and video sound recordings, Schoeps has developed the CMC 1 L microphone amplifier. Having previously created the miniature CMC 1 U amplifier as part of the Colette-series, the German microphone manufacturer has further reduced the size of the latest model by adopting the same miniature Lemo connector. Boasting a 28g and 25.5mm-long capsule as a result of the no XLR design, the CMC 1 L can be further transformed with CCM series’ accessories. Available with a Lemo-to-XLR adapter cable and miniature stand adapter, all three forms of the CMC 1 are suited for concert stage applications in addition to a boom. Offering a 50% reduction in current consumption, the technical performance is on par with the established CMC 6 amplifier. Several parameters of the electronic design have been improved, including the handling of higher SPL levels (135dB SPL with the MK 4 or MK 41 capsule) in 48V operation. The CMC 1 is particularly suited for use with wireless microphone transmitters. The Schoeps RFI Shield reliably suppresses radio-frequency interference, while the low output

impedance remains constant across the frequency range. www.schoeps.de

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PRODUCTS

More voice, less noise with PD-70 Shure flexes conferencing ecosystem DEVELOPED FOR podcasters, radio broadcasters, YouTubers and livestreamers, the PreSonus PD-70 dynamic broadcast

The outputs of the low-frequency driver and the high-frequency array travel on the same acoustic axis, as with a coaxial studio monitor. Because the highs and lows emanate from the same point, they arrive at listeners’ ears at the exact same time, so the CDL12P doesn’t create any smearing in the crossover frequencies. A low 420Hz crossover frequency is said to minimise comb filtering. Each CDL12P delivers 120° x 15° (HxV) dispersion, so six enclosures rigged together form a 120° x 90° coverage pattern. PreSonus has also added the first subwoofer to its Eris studio monitor line. The 100W Eris Sub8 drops down to 30Hz – a full 50Hz below the Eris 3.5s. Users can connect existing monitors via ¼-inch TRS or RCA, set the input level to their liking and invert the polarity. High-pass filter and low-pass crossover control reportedly ensure that the Eris Sub8 starts working at the precise low-frequency point where main monitors stop working to avoid the redundant bass reproduction that occurs without a crossover.

PD-70 www.presonus.com

microphone focuses on delivering clarity within the spoken word spectrum. The manufacturer reports that the PD-70 has a superior off-axis rejection and eliminates mechanical noise, unwanted reverberance and electrical hum, while capturing the natural sound of your voice. The dynamic end-address microphone provides a cardioid polar pattern across a 50Hz – 20kHz (±3dB) frequency range. A windscreen and integrated hard mount are included with the package. The CDL12P full-range, constant-directivity, powered sound-reinforcement loudspeaker combines the best attributes of point source and line array technology. The design allows it to radiate a highly focused pattern with consistent SPL throughout the frequencyresponse range, both on- and off-axis. The CDL12P is portable and can be used alone, in tandem with a subwoofer or in an array. Each unit consists of eight 2-inch drivers aligned in a segmented circular-arc high-frequency array centred in front of a 12-inch woofer.

A CDL12P array

VideoMic NTG interfaces with iOS via SC15 THE LATEST update for the Røde’s VideoMic NTG has made the device MFi-certified in addition to unlocking compatibility with Lightning-equipped iOS devices. The announcement coincided with the release of the SC15 Lighting Accessory Cable, a new 300m-long USB-C to Lightning cable for connecting the VideoMic NTG to Apple mobile devices. While the shotgun microphone sports a USB-C audio output, it was previously only compatible with Lightning-equipped iOS devices via the 3.5mm output. Creators can now plug their VideoMic NTG into their iPhone, iPad or iPod via USB with the SC15 and unleash the mic’s full potential. This includes headphone monitoring with complete volume control using the variable output knob, two-way audio transmission for making video calls, access to the safety

SC15 channel, which creates a second output at –20dB in case the main channel distorts, and 24-bit/48kHz digital audio conversion.

SHURE HAS extended the Microflex Complete (MXC) digital conference system with the addition of the MXC605 portable conference unit. Designed to be configured for use by a chairman, a delegate, an interpreter or as an ambient microphone, the unit incorporates a speak button and function button, a lockable XLR microphone connector, headphone jack with volume control and channel selectors. The speak button enables the user to activate or deactivate the microphone directly or to submit a request to speak, with an LED indicating whether the microphone is on (red) or in request to speak mode (green). The function button can be programmed as a Mute, Mute All, Next On, Reply or no function through the DIS-CCU central control unit via Cat-5e cabling. Other features include a 3.5mm TRS in-built headphone jack so that interpreters can always listen to the floor channel in the headphone before selecting the outgoing channel for interpretation. Designed for planning complex conference systems in advance or for evaluating an existing system installation, the desktop DCS-LAN Tool App has been developed as part of the Shure Conference and Discussion Systems portfolio. The software calculates the power consumption of connected MXC or DCS6000 components and identifies the need for expansion components such as power inserters or expansion units. The standalone application determines the maximum total cable run from the CCU to the last conference unit in a chain. In addition, the tool measures the maximum number of conference units that can be accommodated based on all cable lengths and how many supplementary components such as repeaters are required to achieve a desired system topology. Joining the Microflex Advance MXA910 ceiling array, MXA310 table array microphones and the IntelliMix P300 audio conferencing processor, the MXN5-C networked loudspeaker has been certified for Microsoft Teams. Now providing a complete audio signal chain, the networked loudspeaker is PoE-enabled with an integrated amplifier housed in a low-profile design for applying in drop-ceiling configurations. For podcasters, gamers and vocalists, the MV7 podcast microphone is Shure’s first hybrid XLR/USB microphone and is laser focused on the user’s voice so that the audience gets a

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clear and rich reproduction regardless of whether the recording is made at home or in a studio. Auto Level Mode sets gains in real time, so the output levels stay consistent to allow users to focus more on the content rather than mic technique. An integrated touch panel lets users adjust the gain, headphone volume, monitor mix and mute/unmute, with an option to lock customised settings. Staying with microphones, Shure has also unveiled its DuraPlex subminiature 5mm omnidirectional lavalier and headset mic which boasts the manufacturer’s first IP57 rating. Offering the same features and durability as TwinPlex, DuraPlex consists of the DL4 omnidirectional waterproof

MXC605 lavalier microphone and the DH5 omnidirectional waterproof headset microphone. DuraPlex comes with a carrying case, snap-fit and foam windscreens, single tie clip and a presence cap. The DL4 also comes packaged with a sticky mount. www.shure.com

MV7

www.rode.com

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PRODUCTS

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BUILT ON JH Audio’s in-ear technology, Contour XO is the first in-ear monitor (IEM) to offer the L-Acoustics sonic signature for professional and personal audiophile use. The collaboration between the two R&D departments draws together Jerry Harvey’s multi-driver in-ear monitoring and Dr Christian Heil’s L-Acoustics line source array technologies.

Widely viewed as the benchmark for the live music and performing arts industries, the L-Acoustics sonic signature is described as natural, dynamic and consistent. The limited-edition Contour XO serves as a reference IEM onstage, at the mixing desk, in the studio or on the move. In addition, the development of Contour XO supports the upcoming release of new L-ISA binaural object-based mixing software tools currently in beta testing. Designed to elevate the standard for in-ear monitoring, the IEMs incorporate 10 balanced armature drivers and three-way crossover in a quad low, dual mid and quad high configuration. The Contour XO IEMs offer low-end control with bass adjustment of up to 15dB above flat response. Available via the L-Acoustics eStore, customers can choose from both universal and custom fit options in personal packaging.

UK MANUFACTURER Studiomaster has upgraded its ClubXS compact mixer series with the introduction of uprated 6-, 8-, 10- and 12-channel XS+ models. The addition of a DSP on/off foot-switch socket comes with new black livery – matching the brand’s digiLiVE console series – and more ergonomic colour

four on the ClubXS8+, six on the ClubXS10+, eight on the ClubXS12+ and 12 on the ClubXS16+. Specifications include balanced mic/line connectors, three-band EQ, built-in variable independent input channel compression (nonstereo channels), two aux channels, channel ClubXS6+

www.l-acoustics.com

Lectrosonics reveals next-gen digital receiver WITH THE introduction of the DCR822 dual-channel portable receiver, Lectrosonics aims to build on the benchmark digital RF and audio performance features set by the legacy UCR411a. Designed for field and location production, the compact receiver is compatible with all the current Lectrosonics mono and stereo digital transmitters, in addition to being backwards compatible with any of the Digital Hybrid Wireless transmitters manufactured since 2002. Equipped with two independent receiver channels, the DCR822 tunes across 144MHz (A1B1 version) or 155MHz (B1C1 version), with over 6,000 frequency choices. Ideal for use in portable bag systems and on sound carts, settings can be adjusted using tactile buttons and a high-resolution LCD interface on the front panel. To overcome interference problems, an RF spectrum analyser and SmartTune are built into the receiver and a two-way IR sync hastens the setting up of matching transmitters. The new receiver includes a USB jack on the back panel for connectivity with the Lectrosonics Wireless Designer software for frequency coordination and RF system monitoring. The RF gain stages in the front end use a newly developed design to provide low noise RF amplification and extremely low susceptibility to intermodulation with an IP3 (3rd-order intercept point) of +15dBm. The DCR822’s Vector Diversity subsystem continuously combines RF signals from two receiver front ends per channel with differing phase angles to obtain maximum energy. This delivers artefact-free performance in all modes and can take transmissions compromised by multipath interference

ClubXS mixers get a plus

and reassemble them into solid signals. Along with Vector Diversity on each receiver channel, the two channels can be used together for a single Frequency Diversity channel operating on two different frequencies for full redundancy. The mechanical design of the receiver fits into the same dimensions as the UCR411A, allowing existing mounts to be used. To decrease weight, the new receiver provides two independent channel receivers in one unit powered by four AA Lithium batteries or external DC. The receiver is also equipped with a microSD card slot for data transfer, such as firmware updates and frequency group information. The machined aluminium housing and panels are surfaced with a hard-anodised finish with laser etched markings to withstand the rigours of field production. Audio outputs are via two locking

TA3M connectors with either analogue mic/ line level or AES3 digital outputs selectable in the menu. The DCR822 can record audio channels directly from the receivers onto the card in the industry standard .wav (BWF) file format at 24-bits/48kHz for compatibility with any AV editing software.

coding of channel rotary controls. Launched in 2016, ClubXS’ compact design is suited for small and medium entertainment installations or portable live sound. The ClubXS+ refresh brings the series in line with the already existing ClubXS16+ model. Input channel configurations on all models feature two stereo channels and increasing +48V phantom power mic channel counts across the range, with two on the ClubXS6+,

mute switch, 16 programmable DSP effects and a versatile MP3/USB/SD card playback and recording system. This includes Bluetooth playback capability that enables playback of audio from phones, laptops and other Bluetooth devices. Also standard are 60mm smooth faders and a robust, quiet, internal switchmode power supply. www.studiomaster.com

Compact mixing THE FOUR mixers in Soundcraft’s Nano Series – the Nano M08BT, Nano M12BT, Nano M16 and Nano M24 – have been designed to support a wide range of sources, including microphones, musical instruments, digital playback and recording. The models feature playback and recording from a USB flash drive, simple Mac and PC connectivity via USB and physical vertical faders. The M16 and M24 multichannel analogue mixing consoles cater for various application requirements from live performances, to studio recordings and fixed installations. They have a built-in USB player, support MP3 format audio file playback and recording storage. The M12BT supports Bluetooth-enabled digital playback devices, such as mobile phones, tablets, Macs and PCs. The mixer also has USB playback and recording functions, allowing it to play the supported tracks in the USB flash drive or record and store directly to the USB flash drive. The integrated USB audio interface of the M12BT and M08BT can work

Nano M08BT with both Macs and PCs, making them compatible with commonly used audio production software. The M12BT and M08BT have flexible input and connection options, a built-in compressor, a sound effects processor and vertical channel faders, making them suitable for various application scenarios, including live performances, studio recording and fixed installations. pro.harman.com

www.lectrosonics.com

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Outline gets tough DESIGNED TO drive most loudspeaker configurations, Outline has unveiled the L3000 DSP-equipped, multichannel amplifier. Weighing 3.4kg and housed in a chassis coated in a durable polyurea finish, the freestanding form factor avoids the traditional 19-inch rackmount format. The 2U, 210mm x 320mm (WxD) dimensions promote its use in fixed installation projects where space constraints make it impractical to use traditional amplifier racks. However, a dedicated rackmount kit allows one or two L3000s to be secured in a standard enclosure. Capable of providing 3,000W of power, the L3000 can deliver up to 750W per channel at 4Ω in single-channel mode or 1,500W in bridge mode at 8Ω. Featuring two inputs and four outputs, routing and operational parameters are configured and managed using ArmoníaPlus

management software via the front panel USB por t. These include input/output levels, EQ, delay, polarity, crossover filters and limiter settings. The PWM output stage transforms all the energy drawn from the mains into usable power and immunity from intermodulation ar tefacts. Featuring six speakON outputs and two XLR-F analogue inputs, both bridge and singlechannel output connection modes are available. Channels A, B, C and D can be set in single-ended mode, while E and F can be fixed in bridge mode. Four presets are available to change the routing of the signal. The por tability of the L3000 is enhanced with a dedicated L3000 bag.

PressIT for simple screen sharing

PANASONIC HAS launched a wireless presentation system called PressIT. This tool reportedly allows easy screen collaboration with a single press of a button on a transmitter. Users can also share up to four screens at a time, in full HD 1080/60p, without any software/driver installation (except for Android) or a network connection. The USB/HDMI transmitter sends video and audio signals from PCs, iOS/Android and other mobile devices. A choice of two receivers – either the compact set-top box or the Smart Display Module board – means that PressIT can be used with Panasonic and other professional displays and projectors.

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Wireless communication THE WM-1 Wireless MIDI Adaptor and WM-1D Wireless MIDI Dongle have been designed by Roland to bring the convenience of wireless MIDI to modern music creators. They provide wireless MIDI communication between multiple devices, including keyboards, drum machines and other MIDI hardware, Mac and Windows computers, and iOS mobile devices. In addition to MIDI note data, users can

The WM-1 and WM-1D

send MIDI sync for tempo, effects, LFOs and loops, without connecting a single cable. The WM-1 connects to MIDI hardware devices with standard five-pin MIDI I/O, while the WM-1D connects to computers and iOS devices via USB. Standard mode provides low-latency MIDI communication between up to four total devices. Fast mode reduces latency to 3ms to provide fast communication between two WM units for timing-critical applications. The WM-1D is suited for Windows computers that don’t have Bluetooth MIDI support built in. Users of Mac computers and iOS devices can also use the WM-1D to gain the benefits of Fast mode. Roland has also added to its V-Drums family with the TD-07KV, with the TD-07 sound module at its heart. The electronic drum set incorporates mesh-head snare and tom pads, large

One cable, multiple applications THE TSK1038 from Tasker has a nominal section of 2x 0.35mm2, a tinned OFC copper formation and shielding with a braid covering 90%. It has been designed for a range of applications – users can choose from the original, extra soft and flexible version available in three colours or the TSK1038 LSZH with low smoke and zero halogen sheath available with or without homologation for medium fire resistance class defined by CPR EU305/2011 normative and tested by an independent international authority. In addition, there’s the TSK1038 PUR, which has an outer sheath in polyurethane, a very special and particular material

Meanwhile, Panasonic’s EasyIP, a free-todownload tool to aid in setting up its PTZ cameras, has been completely designed with a new graphical user interface that includes all of its key features in one centralised location. The new GUI in EasyIP+ includes a new and improved camera list that is customisable to include key information on any PTZ camera or controllers on the network, including IP address, model number, firmware version and serial number. There is also an automatic IP set-up function that aims to streamline the process of setting up cameras on the network with their own IP addresses. AutoIP+ allows an operator to assign each camera with consecutive IP addresses following an order from the one shown at the top of the list. A list of successful cameras will be displayed, whilst those that fail will show a notification. Additionally, the solution includes an automatic firmware update feature that checks for updates and issues automatically as soon as they are released. A batch update feature for those that have multiple cameras and controllers on a network has also been included.

V-cymbals and Bluetooth and USB connectivity. The PDX-8 8-inch snare pad features independent head and rim zones for assigning different sounds, while three PDX-6A 6-inch tom pads offer single-zone triggering. The kit also includes CY-8 12-inch pads for crash and ride, a 10-inch hi-hat with integrated pedal and a KD-10 kick pad. There’s also a wide range of electronic percussion, plus deep editing tools for personalising sound. Players can change out and tune drums, add damping, change the ambient environment and use individual EQs and transient editors to shape sounds. Meanwhile, Roland Cloud, the company’s platform for software synthesisers and sound libraries, has grown with the addition of Zenology Pro and Zenbeats 2.0. Zenology Pro gives users the chance to craft sounds with four partials at once, each with choices of PCM and virtual analogue waveforms,

Zenbeats 2.0 rich multimode filters and complex LFOs. Zenbeats 2.0 includes feature and workflow enhancements for free-flowing music production. The spotlight addition is ZC1, Roland’s first mobile-ready synth powered by the Zen-Core Synthesis System. www.roland.com

that has several features like being flame retardant, halogen-free and resistant to friction, treading, atmospheric agents, UV rays and cold or heat, keeping an operative temperature of –40°C to +80°C. According to the manufacturer, these characteristics make this cable the best solution for outdoor mobile use, even for permanent installations and under water up to a depth of 50m. Finally, there’s the TSK1038 AR, a cable with a special steel armour braid over the sheath for underground installation, even if there is a threat of rodents. www.tasker.it

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The jury’s in on ARX’s USB DI-Q AUSTRALIAN MANUFACTURER ARX Systems has debuted the USB DI-Q USBanalogue inter face, an application-specific device borne out of requests from the Australian Cour t System. The USB DI-Q provides a solution for inter facing and monitoring the playback of audio evidence files in a cour troom or similar environment. The USB DI-Q inter face allows the user to monitor and cue audio files in a closed headphone environment, as well as switch/ enable the audio output to a PA or sound system as required. Once in place, the device only requires touch button operation and its simplistic user inter face means that it can be operated by non-technical staff.

The USB DI-Q is suitable for interfacing any US-equipped computer (especially notebook computers) with the balanced inputs of professional sound systems. It installs as a plug-and-play generic USB audio device, requiring no special driver installation on macOS and Windows XP, 7/8/10. The front panel features an overall volume control for both headphone and XLR outputs and an “enable audio to court” switch and indicator LED. The rear panel features a Type-B USB input socket and LED status, summed (mono) output XLR with ground lift switch and a 6.5mm headphone output socket.

Focusrite sees Red DESCRIBED AS being able to “supercharge” any audio interface from the Red range, Focusrite has unveiled a new remote desktop controller named RedNet R1. The device is capable of controlling a range of different monitor output setups, from mono through to 7.1.4 surround, Dolby Atmos and other immersive audio workflows, while completely custom setups of up to 12 outputs can also be configured for bespoke speaker configurations. RedNet R1 can be used to control groups of outputs from a Red interface’s sources and destinations, including Pro Tools | HD and other DAWs, analogue inputs and outputs, ADAT and S/PDIF connections, and from entire Dante AoIP ecosystems, simultaneously. Top-panel control includes level, reference level preset selection, cut, dim, mute and a variety of solo modes. There’s also an A/B functionality for switching between numerous monitoring presets, and up to four fold-down presets allow for the fast checking of downmixes. The controller also features Dante-enabled talkback, an internal mic and an XLR input for connecting an external mic, and a high-powered headphone output so users can interact with their Dante system. Up to four talkback destination groups are available when used with a Red interface (when used with other Dante devices, a single talkback group is available). Two on-board LCD displays permit

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level metering of the outputs, sources and headphone outputs, and provide visual cues for navigating menus. Additional features include a 1 ⁄4-inch jack socket, which accepts a footswitch for talkback management and LFE muting. It can be powered via Ethernet to reduce cabling complexity or by DC power supply. Focusrite has also added a new model to its Red range of Thunderbolt interfaces. With miniDigiLink, Thunderbolt 3 and Dante connections, Red 8Line makes it possible to switch between Pro Tools, other DAW applications and AoIP, without the need to reconfigure audio settings. Updates to the RedNet A16R and RedNet D16R Dante interfaces have brought new functionality in mission-critical scenarios. The new MkII models share the same feature set as their predecessors but are upgraded with individual level controls for input and output channels. This allows precise calibration of all inputs and outputs, reportedly making the process of accurate alignment of connected equipment more straightforward. Last but not least, new drivers have made Red range interfaces compatible with Windows computers for the first time, meaning that PC users running Windows 10 with the appropriate Thunderbolt 3 hardware can now use Red interfaces in their audio systems. www.focusrite.com

www.arx.com.au

Waves are rolling THE DSPRO StageGrid 1000 is a compact I/O device designed to operate with Waves’ eMotion LV1 live mixing systems. Combining eight mic/line inputs, four analogue outputs and digitally controlled AES/EBU I/Os, the SoundGrid-compatible stagebox adds more I/Os for stage performers or at FOH and monitor mix positions. The 1U unit is powered by the same audio interface as the larger

limiters and delays. Additional SoundGrid I/O devices can also be assigned to a network, with the WSG-HY128 card using the Waves SoundGrid protocol to connect all I/O devices with the DSP server and the host computer. Multiple console synchronisation and digital splits are supported using clock Sync-over-Ethernet (SoE). The card can accept firmware changes and upgrades.

DSPRO StageGrid 1000 DSPRO StageGrid 4000. Fully compatible with Waves’ SoundGrid ecosystem, the unit interfaces with SoundGrid hosts and network components to make up a scalable audio distribution infrastructure for processing multichannel audio at ultralow latency using Waves’ plug-ins. Waves Audio is now shipping the WSG-HY128 card for Yamaha Rivage PM Series Consoles. The card is now available for HY slots, making it possible to run Waves plug-ins on Yamaha Rivage PM series consoles at ultra-low latency using Waves SoundGrid technology. Together with a SoundGrid DSP server, a Mac or PC and authorised Waves plug-ins, the WSG-HY128 transports up to 128 channels of audio at 44.1/48/88.2/96kHz using Waves’ reverbs, equalisers, compressors,

Adding new features to Waves’ catalogue of plug-ins, Waves V12 is available. Together with an ability to resize plug-ins, new additions include an accelerated preset search engine, sharp retina-ready graphics and plug-ins added to select premium bundles. A choice of five GUI sizes up to 200% of the original size are available when resizing plug-ins. Bypassing the need to manually browse preset menus, V12 presets can be instantly located and auditioned using the preset browser. With the addition of retina-ready graphics to all Waves plug-ins, the CPU load can be reduced by processing plug-in graphics on a graphics card. www.waves.com

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TSL applies IP expertise to MPA1

Wohler adds Dolby Atmos

TSL PRODUCTS’ range of entry-level MPA1 audio monitors has been extended with the addition of the MPA1-SOLO-IP. Designed to provide a seamless transition to IP at a competitive price, the MPA1-SOLO-IP offers the same features as the MPA1-SOLO-SDI. These include “scroll to hear” functions

WOHLER HAS announced that Dolby Atmos is now available as par t of its decoding and monitoring option for its flagship iAM-12G-SDI audio-video monitor. The iAM-12G-SDI is the only in-rack monitoring and metering device to integrate the Dolby Audio Professional Decoder, which will enable customers the ability to monitor in Dolby Atmos along with other traditional Dolby Audio technologies. Suppor t may be enabled over the 12G-SDI inputs, the AES inputs and SFP inputs. Benefits include the ability to mix Dolby signals with other broadcast signals in customised presets.

factor for a rack-mounted, IP-based audio monitor. Designed for limited space environments where fast audio QC is needed, TSL’s MPA1 units are commonly used across studio control rooms and within OB trucks to monitor audio mixer outputs and technical feed monitoring.

MPA1-SOLO-IP that allow operators to quickly monitor 16 audio channels and view video sources with the added benefit of monitoring across redundant SDI and IP networks. The MPA1-SOLO-IP can host two Embrionix SFP modules for IP connectivity for redundant ST-2022-6 and ST-2110 audio and video monitoring. The latest MPA family member supports SDI, AES and analogue audio source monitoring via BNC or fibre via SFP+ port connection. With a depth of 100mm, the compact MPA1-SOLO-IP boasts the smallest form

Allowing engineers to set presets and operators to recall MPA1 states as part of a system setup, the MPA1-SOLO-IP features SNMP connectivity with additional integration to control systems via Ember+ and NMOS. The range also integrates a web server, offering operators the ability to manage channel names and system parameters remotely over an Ethernet network, in addition to viewing audio levels and signal status via a web GUI.

The iAM-12G-SDI features loudness measurement, phase indication, support for 12G fibre options, preset enhancement, including import/export, and pre-fade or post-fade selection on both the XLR and DB25 output connectors. It supports multiple signals: 12G/3G/ HD/SD-SDI, options for VoIP formats (SMPTE 2110, SMPTE 2022), as well as a range of additional I/O options via its small form-factor pluggable (SFP) interface. All iAM Series products use SFP cages to enable simple adaptation of interfaces and a wide selection of signal I/O. www.wohler.com

www.tslproducts.com

Signal transmitted, message received EXTRON HAS added two next-generation switcher/receivers to the DTP2 Systems family with the release of the DTP2 R 212 and DTP2 R 212 SA. Both models feature DTP2 inputs designed to work with Extron DTP-enabled products for extending HDMI, audio and control signal transmissions up to 18Gbps and up to 100m over a

The series is further extended with the DTP2 T 212, which is a two-input twisted pair transmitter for sending HDMI, audio and control to a DTP-enabled product. Equipped with two HDMI inputs, one DTP2 output and one HDMI output to support a local monitor, the transmitter drives DTP2 and HDMI outputs simultaneously with the selected

equipped with bridgeable outputs. The Energy Star-qualified, Dante-enabled amplifier is housed in a 1⁄2-rack, convectioncooled, plenum-rated enclosure with rack-mount hardware. On-board audio DSP includes a 6x6 mix matrix, filters and dynamics. Four mic/line inputs and two line outputs can be used as Dante endpoints

or as additional inputs to the on-board DSP. Dante connection of the Class-D design provides remote system monitoring. The Energy Star-rated NetPA U 8001 SUB amplifier delivers 800W of dedicated power to the SF 10C SUB in‑ceiling subwoofer. In addition to DSP, Dante Domain Manager and AES67 connectivity are integrated into the plenum-rated enclosure for compatibility with other audio network devices. With the availability of the USB‑C HD 101 inter face, USB‑C signals can be converted to HDMI within an existing AV system. The 1 ⁄4-rack metal enclosure is equipped with an internal Extron Everlast power supply capable of charging a connected USB‑C source device with up to 60W of power. USB‑C Alt Mode supports video resolutions up to 4K/60 for an AV device with an HDMI input.

DTP2 R 212 www.extron.com

shielded Catx cable. In addition, an HDMI input provides connectivity for a video source located near the display to support collaboration environments. An integrated Ethernet control port supports display control, while a local HDMI input allows connection of an additional video source at the display. The HDCP 2.3-compliant receivers support data rates up to 18Gbps and video resolutions up to 4K/60 with 4:4:4 colour sampling. The DTP2 R 212 SA model also features a built-in Class-D stereo amplifier. The DTP2 T 211 twisted pair HDMI transmitter provides distribution of HDMI and multichannel audio, in addition to bidirectional RS-232 and IR signals over a shielded Catx cable. The compact enclosure features remote power capability for discreet placement in lecterns and beneath tables.

signal. To support local monitor applications, the HDMI output can be assigned to either of the HDMI inputs. Other features include EDID Minder, auto-switching between inputs and bidirectional RS-232 and IR passthrough for remote AV device control. The HAI 100 4K Plus 4K/60 has been designed for embedding two-channel analogue audio or S/PDIF digital audio onto an HDMI output signal. An HDMI output and input are included, together with analogue stereo audio and S/PDIF audio inputs for supporting two-channel and Dolby/DTS multichannel formats. The HDCP-compliant audio embedder supports data rates up to 18Gbps, HDR, 12-bit Deep Colour, 3D and lossless audio formats. Capable of delivering two 200W channels into low-impedance systems, the NetPA U 2002 SB Ultra amplifier is

HAI 100 4K Plus

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Bridging analogue to digital and IP DESIGNED FOR analogue partyline users who want to enter the world of digital and IP communications while extending the working life of their legacy equipment, RTS has released OMS (OMNEO Main Station), a hybrid IP/digital/analogue main station for partyline intercom systems and the core component of a new product family: RTS Digital Partyline. OMNEO IP technology – incorporating Dante (audio transpor t) and AES70 (device control) – allows OMS to interconnect with RTS Digital Matrix products (including ADAM, ADAM-M, ODIN, KP series keypanels and ROAMEO DECT wireless) and for thcoming new members of the RTS Digital Par tyline family. According to the manufacturer, OMS can provide a path from legacy equipment to the latest technology, allowing users to migrate to the flexibility of an IP infrastructure without the

complexity of a matrix system. OMS is a communications multi-tool for a wide range of customers, including theatres, houses of worship, broadcast, AV rental, industrial facilities and enter tainment/ event venues. It is available in five licensed configurations to suit the user’s budget and application requirements: Advanced, Intermediate and Basic digital (each with OMNEO); and Analog Plus and Analog (main station options for analogue-only par tyline systems). Users requiring both analogue and digital should upgrade to OMS Intermediate or OMS Advanced. All OMS configurations feature a highresolution, full-colour front panel display and an icon-based menu structure. The panel layout will be familiar to par tyline users and has dedicated colour-coded controls for each channel (talk/listen/ call/volume). Each of the four button

sets can be programmed to function with any destination in the system. For example, button set one does not necessarily need to control par tyline one; it can be assigned as a relay or to a keypanel. Three headset variants are suppor ted. The AC power supply has a locking IEC connector, and the unit’s low power draw and venting enclosure design repor tedly mean that no cooling fans are necessar y. Suppor t for four por ts of analogue AIO four-wire, four por ts of analogue twowire (equipped with echo cancellation), two program inputs and one stage announce output are included. Ethernet connectivity is via copper or fibre (for OMS Intermediate and OMS Advanced versions with OMNEO). Additional OMNEO expansion audio por ts are included for networking with other OMS units, enabling additional system capacity and par tyline

capability as par t of a distributed or multisite system. OMS Intermediate and OMS Advanced configurations suppor t the TIF-2000A digital telephone inter face. The fully equipped OMS Advanced version allows the user to conver t between four different formats: OMNEO, RVON, four-wire AIO and two-wire. G.711, G.722 and G.729AB codecs are suppor ted. Up to 40 OMNEO devices may be connected, including ROAMEO beltpacks (for which OMS can also ser ve as a standalone base station), up to eight keypanels and up to 16 par tylines. OMS Advanced suppor ts four channels of RVON (RTS Voice Over Network) via RTS KP series keypanels, for remote networking with other RVONcapable equipment (RVON Trunking not suppor ted). www.rtsintercoms.com

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DirectOut’s IP migration

EXBOX.RAV FOLLOWING THE success of its EXBOX.MD MADI/Dante converter, German manufacturer DirectOut has expanded the series with the introduction of EXBOX.RAV, a compact solution to aid the migration from baseband audio to IP. The device runs on Ravenna and supports NMOS for stream discovery and connection management. Four gigabit Ethernet ports with an internal switch and PoE, and three MADI ports in

BNC, SC and SFP format, provide bidirectional conversion and routing of up to 64 audio channels. In addition to EXBOX.RAV, DirectOut has also unveiled two new audio network modules to its Prodigy Series, each integrating state-of-the-ar t sample rate conver ters. DANTE.SRC.IO (Dante) and RAV.SRC.IO (Ravenna) are equipped with FPGA-based SRCs and enable asynchronous operation between the modules and the Prodigy mainframe, independently from the configured reference clock of the device. The new modules are suitable for when connections between mixed and asynchronous Dante and Ravenna/ST 2110 networks are a must.

Sp Additionally, the Prodigy series has recently gained support for Ember+. Up until now, control of Prodigy.MC and Prodigy.MP devices was only possible via the front panel touch display and the remote control software globcon. Ember+ has now been added as the first network-based, thirdparty protocol. It is an open control protocol

based on an initiative of the Lawo Group. The DirectOut implementation allows control over the configuration, the settings of the microphone preamp and the routing matrix, including channel labelling, as well as monitoring the status of the device. www.directout.eu

Prodigy.MC and Prodigy.MP

Atlona goes the distance CAPABLE OF transmitting USB 2.0 data over a single Category-type twisted pair cable up to 100m, Atlona has added the AT-USB-EX100-KIT long-distance extender kit. The point-to-point extension includes transmitter and receiver endpoints. The receiver features four USB type A ports for peripheral devices, while the transmitter offers two such ports for peripherals plus one USB type B interface for connection to a host computer. The compact enclosures with brackets can be used for discreet mounting in furniture, behind displays or above projectors to enable locally powered devices. Atlona is also shipping the HDBaseT transmitter in its Omega Series of switching,

AT-USB-EX100-KIT extension and video processing solutions. A unique wall plate extender for USB-C AV and data, the AT-OME-EX-TX-WPC transmitter enables remote USB-C and USB 2.0 connectivity for soft codec conferencing and interactive display applications. Providing

meeting participants with AV and data interfacing on walls, in furniture or in floor boxes, the OME-EX-TX-WPC transports video, embedded audio, RS-232 control signals and USB data via HDBaseT up to 100m when paired with a USB-capable Omega

Series switcher or receiver. Featuring a US one-gang form factor, the wall plate transmitter supports video up to 4K/UHD at 30Hz with 4:4:4 chroma subsampling and is HDCP 2.2-compliant for delivery of protected content. The USB-C input supports both AV and data, promoting adapter-free AV connectivity for recent Mac, Chromebook and Windows PCs as well as mobile devices with AV-capable USB-C ports. A separate USB 2.0 interface supports a peripheral device such as a speakerphone or microphone. www.atlona.com

One app to control them all THE NEW Crestron One app allows employees to control the room environment directly from their mobile device, removing the need to rely on communal touchscreen technologies to achieve wayfinding, room automation and content sharing capabilities. Via the application, employees and guests at any workplace can control room technology safely, securely and reliably through their personal devices which automatically detect Crestron systems, authenticate via the touchscreen and securely connect. Crestron One works with the manufacturer’s TSW touchscreens via a direct Bluetooth connection, without requiring devices to reside

Crestron One

on the same network, ensuring compliance with an enterprise’s global IT security standards. Using existing equipment and code, without any

additional programming required, managers can configure the in-room experience to select the controls for each space. Regardless of how systems are set up, or which Crestron control system is being used, the One app delivers a consistent experience from any mobile device for conference rooms, huddle or other shared spaces. Speaking of TSW touchscreens, Crestron has introduced TSW 70 Series touchscreens that support a range of applications via customisable user interfaces. They are available in two configurations: wall-mounted with 5-, 7- or 10-inch screens, and tabletop versions available in 7- and 10-inch formats together with a cast aluminum enclosure. All models in the 70 Series offer higher resolution display and H.265 video streaming support. The touchscreen devices also permit touchless control – the new proximity sensor detects motion to wake the screen up upon approach and can provide additional feedback to the broader room system. Wi-Fi has also been integrated into the 7- and 10-inch models, while improved light sensors and algorithms auto adjust the screen for optimal brightness. In the realm of video distribution, five new enterprise-class HDMI switcher models have been introduced, comprising 4x1 (HDMD4X1-4KZ-E), 4x2 (HD-MD4X2-4KZ-E), 4x4

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QS TSW 70 Series (HD-MD4X4-4KZ-E), 8x4 (HD-MD8X4-4KZ-E) and 8x8 (HD-MD8X8-4KZ-E) configurations. All support 4K60 4:4:4 @ 18Gbps, while network security also has a central focus with the implementation of common IT standards such as 802.1x, Active Directory credential management integration, PKI Authentication, SSH, SFTP, HTTPS and TLS. The switchers include Crestron XiO Cloud service support for network deployment at scale, help desk integration and remote management. Lastly, two new models in Crestron’s flagship DM NVX AV-over-IP signal distribution platform have been released. The new DM-NVX-360 and DM-NVX-363 models enable support for the latest industry standards, including AES67, Dolby Vision, HDR10+ and POE+.

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www.crestron.com

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Spatial mixing MEYER SOUND has developed Spacemap Go, a spatial sound design and mixing tool that leverages the processing power of the Meyer Sound Galaxy Network Platform in an iPad app. The Spacemap Go iPadOS app has been designed to provide an easy-to-use touchpad interface for Spacemap multichannel panning using one or more connected iPads. According to the manufacturer, with Spacemap Go anyone can design both simple and sophisticated multichannel installations without specialised training. With thousands of Galaxy processors worldwide, Meyer Sound believes that Spacemap Go has the widest reach of any spatial sound design and mixing tool. It can be implemented with a free update to Galaxy firmware and Compass control software. Users with existing Galaxy inventory need only supply one or more iPads as appropriate for the application.

Generating chaos

With any combination of Galaxy 408 or Galaxy 816 using Milan AVB, AES3 or analogue as inputs and outputs, systems are quickly and easily configured by Spacemap Go. Spacemap systems can be configured for up to 32 inputs and as many outputs as are provided by the processors. Each Galaxy provides up to 232 matrix crosspoints. Spacemap Go reportedly works well in live workflows, providing the ability to make edits

d&b Fanblock brings crowd noise back to empty stadiums

D&B AUDIOTECHNIK has partnered with theatrical creative sound designer Autograph to codevelop and launch a stadium sound application that creates a live crowd atmosphere at empty sports events. The new application, d&b Fanblock, delivers a real-time, controlled sound solution to venues without fans or with a reduced number of fans onsite. By using a d&b sound system inside the arena, the application creates a multichannel surround sound system which, when combined with Autograph’s Stadium Sound playback software, means stadiums are filled with the sound of fans. The system is scalable and can be put in any size stadium or arena around the world. The basic audio content consists of non-teamspecific sounds including background “bed” loops to provide a continual atmosphere within the stadium and a library of sound cues that can be triggered by operators in reaction to the

action on the pitch. The custom sound design package offers club-specific chants made possible through Autograph’s content partner, FanChants. Autograph’s Stadium Sound creates a live crowd atmosphere at sports events that can be dynamically controlled in real time to respond to the events of the game. The system is operated live by engineers in the stadium in order to follow the energy levels and punctuate the dramatic moments as they happen. “By partnering with Autograph, we’ve come up with a revolutionary new sound solution,” commented Amnon Harman, CEO of d&b audiotechnik. “No longer will sports teams hear the echo of empty stadiums and venues; instead, with d&b Fanblock, they will once again hear the strength and passion of their fans while on the field.” Fanblock uses the matrix functions of the DS100 Signal engine to distribute audio to the

QSC HAS announced two new Q-Sys Control plug-ins that reportedly enable quick integration and a consistent user experience within Q-Sys for Cisco conferencing and collaboration endpoints and the Barco ClickShare Conference family. Both are available through the Asset Manager within Q-Sys Designer Software.

The Cisco In-Room plug-in enables expanded control of Cisco collaboration endpoints, including Cisco Touch 10 and Webex Desk Series devices, while maintaining a consistent user experience by combining Cisco controls with in-room AV controls provided by Q-Sys. To expand the reach of Q-Sys within wireless

and plot panning in real time with a swipe of a finger. Open Sound Control (OSC) support provides integration with sound design software such as QLab, as well as DAWs including Ableton Live, Pro Tools, Digital Performer, Logic Pro X and Reaper. RTTrPM protocol support allows integration with realtime tracking systems, including BlackTrax. Console plug-ins are in development.

EVENTIDE IS taking chaos to the next level with Generate, a marquee polysynth developed by Newfangled Audio and distributed by Eventide. Generate combines all the features expected in a synthesiser with “revolutionary chaotic oscillators to create beautifully complex pads, warm moving keys, jittery sequenced basses and out-

www.meyersound.com

d&b loudspeaker system. As the backbone of d&b Soundscape, the DS100 Signal engine enables further enhancement of d&b Fanblock through its En-Scene software. Users can take advantage of object-based signal management, allowing complex sound events to be moved dynamically around the stadium in real time, and add additional detail to the effect of Stadium Sound in response to the actions on the field. This means the sound engineer can make spectator chants grow from one section before building out to fill the entire stadium.

of-control leads”. The manufacturer explains that what initially looks like randomness contains underlying patterns, interconnectedness, constant feedback loops, repetition, self-similarity, fractals and self-organisation. Each of Generate’s five chaotic generators brings out these underlying patterns to create an oscillator that can reportedly fade from a sine wave to total chaos, with an expanse of territory to explore in between. The musical textures created include distortion, harmonics, grunge, static and noise – all of which can be predictably or unpredictably modulated.

www.dbaudio.com

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collaboration and conferencing systems, the Barco ClickShare Conference plug-in enables the ability to connect, monitor and control ClickShare devices from the same UCI as their in-room AV controls. The plug-in ensures safer meetings by creating intelligent room controls, while minimising additional interaction with the collaboration system. The US manufacturer has also announced the release of the multipurpose NV-32-H (Corecapable) native network video endpoint for Q-Sys, which allows users to toggle between Core Mode, transforming the device into a fully capable Q-Sys processor with local HDMI switching capabilities, and its existing Peripheral Mode, which is designed for network HDMI video distribution over standard AV networks. The Core Mode is said to offer a fully featured audio processing engine, including 32x32 network audio channels, eight AEC channels, one VoIP softphone instance and optional support for software-based Dante.

Undulator is a tremolo from Eventide’s H3000 Harmonizer effects processor and is said to provide a unique rhythmic effect by combining ethereal feedback and detuned echoes which are fed through an AM/FM modulated tremolo. It can be used for manipulating samples or adding movement to strings, pads, guitars and keys. The plug-in transforms ordinary synths, keys, guitars and even vocals into evolving pads and can also be used for creating tempo-synched production elements, time-lapsed soundscapes and otherworldly and fluctuant delays. It is available for Mac, PC and iOS, and Eventide will be donating 100% of the proceeds of Undulator to the Equal Justice Initiative & NAACP Legal Defense and Education Fund. www.eventideaudio.com

Cisco In-Room plug-in

www.qsc.com

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PRODUCTS

Powersoft in harmony with SIs PROVIDING SYSTEMS integrators with the tools to manage intricate installation projects through its dedicated Install Skin, Powersoft has updated the ArmoníaPlus software. The v2.0 release extends the capabilities of Powersoft amplifiers by delivering new features in addition to streamlining existing ones. While live sound projects in ArmoníaPlus maintain the same structure as the original version, Install System projects now assist SIs with sources and zone management, allowing customisable user interfaces and controls to be created in the new Views Designer. By registering a copy, users can gain access to the MyPowersoft online platform through a single sign-in procedure.

Powersoft amplifiers are now capable of managing mono, stereo and multichannel sources and zones. This allows for decentralised system processing, removing the requirement for an external matrix in many applications and reducing the number of cable runs. Any analogue or AES3 signal can be converted into Dante and shared over the network through the Dante Matrix, which is now natively integrated within ArmoníaPlus. Patching between amplifiers and Dante sources is only performed when required,

allowing the creation of offline sources and providing a lighter solution for systems that require the selection of Dante sources. ArmoníaPlus 2.0 also introduces a series of solutions aimed at remotely controlling key system functionalities such zone level control, source selection and system scene selection. With Passive Controls, the WM Level and WM Select can be shared over the network for connecting a passive wall controller to one amplifier via GPI and controlling the parameters of other devices in the same network. WM Level controllers can be configured to adjust the level of an amplifier output in addition to single or multiple zones. WM Select controllers can be set to work as source selectors for a zone or configured as scene selectors, allowing users to choose from different system configurations. Customisable user inter faces can be created in The Views Designer, which promotes the controlling and monitoring of multiple source and zone functionalities from any mobile device with a web browser. Per formed in the new Views Designer, Powersoft System Control is a dedicated app that controls system views and loads ArmoníaPlus project designs to the amplifiers and external controls. V2.0 also introduces new features aimed at improving the user experience, including multiple workspaces, a synchronisation mode and new Control and Views modes that let WebViews and App Views users choose how they control their system.

Im in Symetrix composes an update SYMETRIX HAS announced the release of its latest free Composer programming software for Edge, Radius NX, Prism and Solus NX DSPs. Composer 8.0 for Windows expands the power of the Symetrix ecosystem with new features, including Lua scripting, Radius NX AEC enhancement, audio playback and Media Manager. Lua scripting allows users to create custom Intelligent Modules for Composer. In addition, these modules allow the software to control and monitor any device that can be controlled by a third-par ty system or provide system logic functionality which previously required large and complex logic programming. The Acoustic Echo Cancellation (AEC) cards for the Radius NX have a new configuration option that increases the total number of AEC channels when using discreet AEC references. When processing AEC, the AEC channels in each room need to receive an AEC reference signal specific to that room which presents an increased processing load for the DSP chip. With Composer 8.0, the Radius NX with AEC-2 card is now capable of up to 12 channels

of simultaneous AEC. This enables a single Radius NX to manage as many as 12 different rooms. Audio recording functionality in the Radius NX is now joined by audio playback. Audio systems often include a message playback device for audio cues, such as classroom bells, airpor t parking messages, retail store closing announcements or background music. The Radius NX can play up to eight audio tracks simultaneously from a local USB drive. The Radius NX Media Manager is a browser-based feature providing upload, download, playlist and organisation functions for recordings on the USB drive of the Radius NX. Whether a Radius NX is playing background music, announcement messages or timing chimes, audio files need to be uploaded to the Radius NX before they can be played and organised on the drive. Radius NX Media Manager also provides full control of all media files on the device by accessing the Radius NX with a web browser.

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Sonicue updated to v1.2

THE LATEST software release (1.2) for Dynacord’s Sonicue sound system software expands the scope of the solution by adding full support for the new MXE5 matrix mix engine, completing the sound system by providing input, routing and mixing functionality, in addition to DSP functions. When integrated with Dynacord’s IPX series amplifiers, MXE5 can serve as a system head for overall system supervision, monitoring and control, while the system logic supports communication with other Open Control Architecture (OCA) devices, including third-party products. Running as independent apps on desktop PCs and the TPC-1 touch panel controller, Sonicue 1.2 adds customisation features for user control panels and system logic for advanced tasks. The software’s new control panel designer is described as a comprehensive toolbox that allows the creation of standalone,

sound engineers, facility managers or service personnel in hospitality areas. Together with the new system logic and customising functions, the applications can be loaded with dynamic content for specific application modes. The update also includes an activated update routine for loudspeaker databases and an overview that displays the current firmware versions of all supported devices. In addition to the Sonicue updates, Dynacord has also made third-party loudspeaker presets from popular manufacturers available inside the software, expanding the lineup of thirdparty loudspeaker options for integration into Sonicue. A complete list of supported brands is available on the manufacturer’s website. lockable applications. The design of the user interfaces is customisable and assignable

with different functions according to the required user type, such as system and

www.dynacord.com

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PRODUCTS

AquaControl software update

Improved layout workflows in theWall 4.4 SEVERAL SIGNIFICANT features have been incorporated in Lawo’s version 4.4 software release for theWall multiviewer control application, resulting in an “unparalleled multiviewer experience”, the German manufacturer promises. The primary new features include the ability to perform live editing in the Layout Builder, the introduction of a new snap grid option in the Layout Builder to aid with object alignment, editable layout names, enhanced files dialogue and the addition of support for three UMDs and three OMDs and several control options. Furthermore, in the Layout Builder, it is now possible to manually change the Pip IDs. The manufacturer has also announced VSM 2020-2. vsmStudio now comes with

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www.lawo.com

Merging Technologies goes MAD

MERGING TECHNOLOGIES has developed an entirely new Merging Audio Device (MAD) for windows computers as the existing ASIO driver supplied with its interfaces was “beginning to show its age and lacked some key features”. MAD is said to offer significant improvements to the free version and also introduces a new additional Infrastructure package for broadcasters wanting the advanced features. The first of the major enhancements is a multi-ASIO capability that allows different applications to run simultaneously sharing ASIO inputs and outputs. Additionally, internal bridging allows channels to be defined to send audio between applications concurrently using MAD. While ASIO is the most popular driver option for the recording industry, Merging recognises that there are other markets where the official

Bessel 5th-order (30dB/octave), Bessel 6th-order (36dB/octave), Bessel 7th-order (42dB/octave), Butterworth 1st-order (6dB/ octave), Butterworth 5th-order (30dB/octave), Butterworth 6th-order (36dB/octave), Butterworth 7th-order (42dB/octave) and Linkwitz-Riley 6th-order (36dB/octave). Designed to assist the setting up of stereo or multi-zone systems, the Link Groups feature allows DSP functions to be linked across the channels.

a fundamental change in the internal processing and visualisation of sourceto-destination connections: Cross Point Centric (CPC) processing. CPC is an adapted method of processing and visualisation of crosspoints within vsmStudio, reflecting the changing technical prerequisites in IP infrastructure setups. It aims to provide immediate confirmation of crosspoint triggering actions to VSM users operating IP environments where controlled devices may not respond in time. In addition, vsmGadgetServer now includes a driver which provides generic NMOS IS-05 support (connection management) for VSM.

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ASHLY AUDIO has launched the first major update to its new AquaControl software suite. Following partner and customer feedback, new changes including templates, additional filter types and link groups are free to download. Integration setups can be saved and recalled with updated template capabilities. Mic/line input, stereo input and output DSP signal chain configurations can be stored and imported into other AquaControl-capable devices. Eight new filter types for crossovers have been added to the software, in addition to high- and low-pass filters. These include

Microsoft WDM (Windows Driver Model) is essential and this has now been incorporated into MAD. The combination of ASIO and WDM gives flexibility by allowing WDM channels to be sent or mixed to the same outputs as ASIO or redirected to the bridge channels. This permits these channels to be routed or recorded by the ASIO applications, as well as allowing the user to monitor the WDM sources independently to those on the DAW or Mix, enabling the user to listen to their favourite DAW while comparing the track with playback from applications like Spotify or YouTube. Recent developments in IP standards for the broadcast industry require a number of additional features to address stream redundancy and the migration towards centralised data centres. In addition to offering ST2022-7 Seamless Protection

Switching, the MAD Infrastructure option also adds NMOS IS-04 and IS-05 compliance to the package, as well as the option of Virtual Machine operation. Broadcasters are increasingly leveraging centralised production machines; an editing machine in the data centre can be allocated to any remote location worldwide, making sure a news picture editing machine, for example, is shared as much as possible and generates revenue 24/7. MAD connects the machine in ST2022-7 and can be discovered and controlled by an NMOS solution, regardless of whether the machines available in the data centre are physical or virtual. The new Anubis SPS provides the high-quality audio endpoint in the editing room which can be configured remotely and provides to the end user accurate monitoring calibration as well as recording facilities. Delving deeper into the capabilities of MAD, it is possible to have the ASIO and WDM applications at different sample rates as the WDM has its own Sampling Rate Converter which will automatically convert to the ASIO rate. This allows a recording to be compiled on the ASIO side with some files coming from a WDM source with a higher or lower rate. Merging believes that the introduction of MAD gives existing native customers a radically enhanced set of workflows for no extra cost and that the addition of the low-cost Infrastructure option offers broadcasters cost-effective, controllable solutions to both the start and endpoints of any centralised IP network.

Xilica adds Lua scripting FOLLOWING ON from the launch of its Designer 4.0 software, Xilica has added Lua scripting language to its Solaro digital signal processor series. With Lua scripting functionality, SIs can program their own custom drivers for almost any third-party product that has a control string, while accessing Xilica’s library of pre-designed integrations. Widely used in the AV and IT industries among control system manufacturers, Lua scripting is a universal language that enables products from third-party vendors to communicate and interoperate. With the addition of control engine functionality and a proprietary command protocol, SIs can omit traditional control systems by using the existing DSP for system command. Ideal for small-to-medium applications, Xilica has added a scalable external control system for larger projects with updated modules for AMX, Crestron and Control4 automation platforms. Lua control modules are available inside the Xilica Designer software interface. For those situations where a particular brand may not be available, Xilica’s Lua Device Driver Builder function enables a programmer to create custom functionality specific to a product and application. Xilica’s customers further benefit from new USB I/O capabilities that improve compatibility with the latest Unified Communications (UC) platforms, including Microsoft Teams and Zoom. www.xilica.com

www.merging.com

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The BZ40H series

Remote education SONY HAS unveiled its Bravia 4K HDR BZ40H series of displays that have been designed with flexibility, connectivity and ease of use in mind. The lineup includes 55-inch (FW-55BZ40H), 65-inch (FW-65BZ40H), 75-inch (FW-75BZ40H) and 85-inch (FW-85BZ40H) options for use in various education applications. The BZ40H series combines Sony’s System on a Chip (SoC) platform with “intelligent, convenient professional features”, providing flexibility to customise the display to meet any educational facility’s requirements. Other products in the Bravia series have also been redesigned with a flat bottom bezel, all aluminium bezel, a reinforced rear cabinet and all input terminal position on the side. The screens form part of a new remote learning solution from Sony that combines

the MAS-A100 beamforming microphone with its Edge Analytic appliance, enabling lecturers to teach and students to learn remotely. The combination of Edge Analytics, MAS-A100, Sony PTZ cameras, projectors and the new Bravia 4K displays when used together gives universities a complete solution for distance learning in these challenging times. Once installed, there are fewer touchpoints and very few, if any, AV staff required to work the system. The solution also enables teaching to be customised for any requirements, irrespective of whether students are allowed on campus or not, or if a classroom is limited to a certain number of people at a time to adhere to social distancing rules. pro.sony

Pandoras Box opened and CounterAct defending CHRISTIE IS shipping the Access II range of discreet LCD displays. Designed as budgetfriendly UHD displays, Christie Access II Series panels are available in 55-, 65-, 75-, 86- and 98-inch ultra-thin formats. Designed for meeting rooms and retail applications, the plug-andplay solution integrates connectivity features, including OPS slot and USB playback. Flexible RS-2322, Ethernet, Crestron Connected and CEC can be adopted for management control. Developed for cinemas, theme parks, museums, sports complexes and other indoor spaces, the CounterAct line of commercial UV disinfection products integrate Care222 far-UVC light technology. Designed to be installed on ceilings, the remote-controllable Christie fixture uses Ushio’s narrowband filtered Care222 excimer lamps that emit far-UVC 222nm light. This includes a shortpass filter that prevents the emission of longer wavelengths of UV light (+230nm) that are capable of penetrating human skin and eyes. The first Christie CounterAct fixture contains two Care222 excimer far-UVC lamps that are said to significantly reduce pathogens on surfaces of any indoor space. Equipped with instant on/off at full output power and Care222 technology lamps, the fixture has been shown to be effective at reducing pathogens such as

CounterAct

Access II Series

coronaviruses in the laboratory and may be used when people are present. Resulting in a near-seamless display with a bezel width of 0.44mm (0.88mm combined), the FHD554-XZ-H features an OPS slot and a variety of embedded processing modules on the panels, including Phoenix EP. Additional built-in processing includes videowall scaling, bezel compensation and staggered power-up. The platform supports 4K UHD signals at 60Hz on large-tiled videowalls with the factory-calibrated panels matched for image uniformity. The FHD554-XZ-R uses remote and redundant power via external AC-DC hot-swappable supply modules. The Pandoras Box family of hardware and software tools provide real-time, high-framerate 3D stereoscopic video playback and processing. Version 6.5 software now features a new render engine for improved image quality and efficiency to deliver 10-bit colour depth for Rec. 2020 and HDR applications, while preserving the full colour palette (4:4:4) without any chroma subsampling.

ODL-815

Barco ODL receives nextgeneration laser engine BARCO’S NEXT-GENERATION RGB laser rear-projection videowalls are able to provide more space in control rooms thanks to their smaller ecological footprint. For missioncritical control rooms, rear-projection remains a key technology, especially for mid- to large-sized installs. The next-generation laser engine introduced in the RGB Laser ODL series features new laser banks, improving the light source lifetime in different operational modes. A guaranteed 10 years of maintainability secures the system for the future, while the manufacturer’s accompanying WallConnect software, a cloudbased remote monitoring, diagnostics and

control solution for its videowalls, has further evolved to improve setup, configuration, operation and maintenance. Along with the ODL-series’ motorised seven-axis alignment, this is said to make the installation process smoother. The new engine will be available within the full RGB Laser portfolio, covering 7- to 80-inch sizes and supporting both FHD and SXGA+ resolutions. Multiple screen options are available to deliver the optimum result depending on the application, control room environment and budget.

DESCRIBED AS an evolutionary step forward in display technologies, LG’s new micro LED digital signage solution, Magnit, has entered the market. Magnit promises increased durability thanks to its LG Black Coating and streamlined installation as a result of its block-assembly design. Micro LED screens features self-emissive, micrometre-scale pixels applied directly to the substrate board, which are said to deliver sharper images with improved contrast and a wider viewing angle. LG’s new Black Coating technology, applied to the front of the displays, is designed to improve contrast and colour accuracy while helping to protect the tiny LED pixels from moisture, dust and external impact. The Black Coating is also anti-glare and antifingerprint, minimising distracting reflections and making it easier to remove unsightly smudges.

The Magnit displays integrate the manufacturer’s webOS smart signage platform for navigation and control of useful functions, including features and presets. Picture quality is boosted by an AI-powered α (Alpha) image processor that intelligently analyses content and source and automatically optimises visual output in real time. Each Micro LED cabinet measures 600mm x 337.5mm x 44.9mm (WxHxD) and can be linked to other cabinets to erect large-scale display onsite. The blockassembly design allows power to be sent to each cabinet via pin connectors located on the edges of the LED cabinet hub. Cable management is aided with only a few wires on the back of the displays to link the cabinets to system controllers and power mains.

www.barco.com

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When distance matters DESIGNED FOR a range of demanding applications such as conference rooms, universities, galleries and museums, Vivitek has introduced the DU4371Z-ST short-throw laser projector. With a brightness of 5,100 lumens with WUXGA resolution, the laser projector offers flexible installation with 360° positioning options. At a distance of 2m from the wall, the 0.5 short-throw lens reportedly ensures the projector can achieve an impressive image size of 4.7m. At 3m, it can deliver the 7m full diagonal image projection. Integrated DLP DarkChip3 and BrilliantColor technologies combine to create optimal black levels and colourful images with a dynamic contrast ratio of 20,000:1. In addition, the WUXGA laser projector is equipped with a 3D synchronisation port for compatibility with the passive 3D synchronisation protocol for infrared. The advanced laser phosphor light source is said to ensure optimal brightness and colour uniformity. The lamp-free design boasts maintenance-free operation of up to 20,000 hours. Using the HDBaseT

rooms. Thanks to integrated NovoConnect features, such as wireless presentation and moderator functions, the projectors are suited for the BYOD era and do not require additional equipment. It is also possible to display up to four screens simultaneously, allowing up to 64 people to participate in a meeting. In addition, the all-in-one projectors provide cross-platform compatibility with Windows, macOS, Ubuntu, Android, iOS and Chromebook. Staying in the meeting room, the DU857 DLP ultraportable projector with DLP and BrilliantColor technology delivers 5,000 lumens of brightness with 4,000 hours of lamp life. In addition, it has a six segment colour wheel which reportedly generates vivid and accurate colours, while viviBlack provides a user-controlled enhanced contrast ratio for detailed images. A user-controlled Colour Manager can be calibrated according to the content being displayed. A Direct Power On function automatically puts the power on when plugging the power cord into an outlet. It is also Crestron RoomView certified for simplified communications with remote control over an IT network.

DU4371Z-ST interface, the image signal can be transmitted to the projector over long distances by cable and a standard Cat-5e/6-LAN interface which has been integrated in the DU4371Z-ST for digital audio content. The projector is shipped with Crestron RoomView software for network monitoring and management. In other news, the manufacturer has announced the release of two NovoProjectors, the DH3665ZN and DH858N, both of which feature integrated NovoConnect wireless collaboration capabilities. The projectors offer a 4,500-lumen light output and 1080p resolution and are designed for medium-sized meeting

www.vivitek.eu 1 17/12/2020 DH3665ZNai160822001215_AUDAC-MFA-series-190x135mm-with-award-logos.pdf

New generation of single-chip DLP laser projectors comes of age WITH THE creation of the 23,000-lumen M-Vision 23000, Digital Projection has developed the world’s brightest single chip DLP laser phosphor projector to date. Designed to bring budget-sensitive applications a

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large-screen imaging solution, the new lamp-free, laserphosphor projector provides a 10,000:1 contrast ratio and provides saturated colours with ColorBoost + Red Laser technology. Venues needing power ful, large-format imagery without sacrificing colour accuracy, in addition to those contending with ambient light, can directly benefit from the M-Vision 23000’s light output, contrast ratio and colourimetry.

The 0.96-inch DarkChip DMD comes with blue and red lasers and a four-segment colour wheel. Edge Blend and Geometric Correction are standard features of the M-Vision 23000, including the ability to blend stereoscopic images. A complete suite of professional lenses offers throw ratios from 0.9:1 to 7:00:1, all featuring motorised shift, zoom and lens memory.

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www.digitalprojection.com

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ATEM performs live streaming Magic CREATED FOR multi-camera productions and PC use in livestreaming via Ethernet, Blackmagic Design has added the ATEM Mini Pro ISO to its portfolio of production switchers. A five-stream recording engine allows separate H.264 video HDMI streams from a live production to be recorded in real time using multi-camera

video files which include metadata tags such as synced timecode and camera numbers. The HDMI output for projectors accepts desktop and lapel mics for interviews and presentations. A miniaturised control panel comes with four input buttons for the selection of various sources, video effects and

Ross keeps in touch DESIGNED SPECIFICALLY for technical directors, Ross has unveiled the latest update to its Carbonite range of production switcher panels. TouchDrive is a new family of control panels and brings the same touch technology from smart phones to video production switchers. Every display on the control panel is touch enabled. These high-resolution displays, based on IPS LCD technology rather than monochromatic OLEDs that fade over time, reportedly make source and device control faster and enable functions like bus map creation without having to dive into menus. The new curved panel design is said to put every button within easy reach and the custom colour schemes enable users to configure and organise the panel look to their specific preference.

Ross virtual studio and augmented reality applications. Lucid comes with a new user inter face and is the first Ross product to feature the new Aura visual language that will be a key aspect of many future solutions. The inter face enables operators to design their own customised layouts, as well as save and recall layouts based on personal preference or production stage. Several software updates have also been released. Ultrix V4.4 is the latest version of Rossâ&#x20AC;&#x2122; Ultrix routing and AV processing platform and sees the introduction of Ultrimix-MXR, a full virtual audio mixer licence option. With 128 inputs and 64 outputs (partitionable into smaller mixers so users can have multiple instances within the frame), Ultrimix-MXR has access to any audio source in the system. It includes four-band parametric equalisers, noise gate and compressor/limiter on every input. In addition, it has 128 direct outputs for simple audio processing as part of its standard feature set.

ATEM Mini Pro ISO features and saved in the DaVinci Resolve project file for editing and remixing following the event. Audio on each input can be recorded as a separate ISO file, while the in-built audio mixer supports limiting, compression and a six-band EQ. The ATEM Mini Pro model is equipped with record and streaming control in addition to output selection buttons that can change the video output between cameras, programme and multiview. On the rear panel there are HDMI connections for cameras or computers, extra

microphone inputs, USB for webcam out plus an HDMI aux output for programme video. The USB port operates as a simple webcam source and allows any streaming software to be adopted, while the ATEM Mini Pro model adds livestreaming and recording to USB disks. Each of the four HDMI inputs feature their own dedicated standards converter to automatically convert 1080p, 1080i and 720p sources to the video standard of the switcher. Media pool images are saved with the

transitions such as dissolve, dip to colour, DVE squeeze and DVE push. An integrated DVE allows picture-in-picture effects and can instantly set up different pictures for commentary. With the ability to access every feature in the switcher, the ATEM Software Control App features a visual user interface with parameter palettes for making quick adjustments. For news or on-set presentation work, the ATEM Mini can be used as an upstream ATEM Advanced Chroma Key plus an additional downstream linear keyer.

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TouchDrive TouchDrive also includes a built-in DashBoard computer, enables integrated DashBoard control for various Ross products (such as XPression graphics, Ultrix routing and Tria replay) and reportedly features convenient power/display/control connections for an additional external display. Available in five different sizes, from a single-row, 15-button panel to a three-row, 25-button panel, TouchDrive replaces all current Carbonite Black models except for the compact Carbonite Black Solo. The Lucid platform is a replacement to the UX solution and will become the primary configuration and control inter face for all

OverDrive V20 features a big update to QuickTurn, a tool to automate the production of segments for websites and social media. QuickTurn connects to the rundown in OverDrive and records a production live into a ser ver that automatically encodes and prepares clips of content for publication to the web. Piero V16 is the latest version of the Piero spor ts analysis graphics system and has been updated to include suppor t for 4K-UHD and HDR. It also includes a Down and Distance feature for American football. www.rossvideo.com

Designed to connect video links directly from any ATEM Mini Pro model switcher, the ATEM Streaming Bridge decodes a live video stream before conver ting it back as SDI and HDMI video. Using H.264 codecs at low data rates promotes high-quality video that can be transmitted remotely over the local Ethernet network or via the internet globally. www.blackmagicdesign.com

Lucid

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V8.0 turbo powers Broadcast Pix systems V8.0 SOFTWARE is shipping on all new Broadcast Pix integrated production systems in addition to being available to download, allowing FX4 and FX6 users to upgrade to FX8 and FX10. Additional network inputs have resulted in the creation of the FX8 and FX10 BPswitch video switcher models. Each model comes with four external network inputs, eight internal inputs for clips, stills and graphics and four/six physical video inputs, respectively. With v8.0, Zoom and teleconferencing streaming can be hosted, in addition to multicast livestreaming for up to five online destinations simultaneously. Enhanced

remote production features include realtime graphics editing and streaming and recording control from the Commander touchscreen. New H.264 and .mp4 recording formats can be shared and used amongst third-party systems and editing platforms. Visca camera control includes the auto-detection of NDI addresses and the audio mixer allows any Windows audio device to be used as a source. In addition, RoboPix and PTZOptics PTZ camera control is enabled through a serial or IP connection. www.broadcastpix.com

AJA streams, converts and updates AJA VIDEO Systems has developed Bridge Live to transport UltraHD or multichannel HD video between uncompressed baseband SDI to and from a wide range of streaming and contribution codecs (H.265, H.264, MPEG-2 and JPEG 2000) in real time. The plug-and-play gateway 1U solution supports a flexible array of containers and protocols, including SRT, RTMP/S, RTP, UDP and MPEG-TS. Bridge Live provides video processing with SDI encode or decode for one channel of UltraHD up to 60p or up to

four channels of 1080p60 simultaneously via four 12G-SDI connections that are also backwards compatible to 6G, 3G and 1.5G SDI. The openGear OG-ROI-SDI scan converter has been created for converting 3G-SDI

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inputs to 3G-SDI and HDMI mirrored outputs. The card features audio functionality, image scaling, aspect and frame rate conversion, together with image rotation including frame sync functionality. Region of Interest support promotes the extraction of video source signals for scan convert, scaling and conversion to HDMI and SDI from SDI sources. OG-Dante-12GAM is another openGearcompatible solution developed specifically for bridging 12G/6G/3G SDI sources with embedded audio to and from the Dante IP audio ecosystem with 64 channels of simultaneous bridging. The insertion of the OG-Dante-12GAM card creates a highdensity infrastructure solution for bridging Dante to SDI and back in large venue

production environments. Compatible with openGear frames, the card provides up to 640 channels of SDI/Dante audio bridging within a single 2U frame housing 10 cards. Available as a free download, Ki Pro Ultra 12G v2.0 firmware brings several new improvements to the AJA Ki Pro Ultra 12G single-channel 4K/UltraHD recorder/player or four-channel HD recorder. The latest update introduces features that streamline high raster workflows with varied video input sources, including new input frame sync for genlock-free recording, and 8K link VPID to power 8K/UltraHD2 workflows when four Ki Pro Ultra 12G devices are used in tandem in 12G- or 6G-SDI mode. www.aja.com

Dejero shaken to the Core NEW VERSIONS of the WayPoint 50 and CuePoint 50 have been developed by Dejero as part of a portable flyaway kit to support a facility with its complete evacuation in response to social distancing regulations during the Covid-19 pandemic. The WayPoint 50 single-output compact receiver reconstructs broadcast-quality video transported over multiple IP connections from a Dejero transmitter, decodes HEVC or AVC and outputs to SDI or MPEG-TS workflows. In addition to in-vehicle and portable kit installation, the WayPoint 50 is the ideal tool for stations that need just a single output for their broadcast workflow. The CuePoint 50 return feed server sends low-latency live programme video and teleprompter feeds to on-air presenters, camera operators and other production personnel in the field. Serving as a link with central production during live broadcasts, up to eight output feeds can be viewed on tablets, smartphones or regular monitors. The WayPoint 50 and CuePoint 50 can be

integrated into a portable flyaway kit and easily moved to any location to support remote production workflows.

software Hybrid Encoding Technology provides high-quality video in challenging bandwidth-constrained scenarios. Users of the

and EnGo 260 mobile transmitters and the WayPoint 104 receiver. A closed-captioning feature is also available for the FlexPoint

FlexPoint 111 transceiver can now transmit and receive resolutions up to 4K UHD at 60fps, with live bitrates up to 60Mb/s 4K UHD supported in both live and recording modes. The update also introduces two-way intercom communications to several other Dejero products, including the EnGo 1.3

transceiver and the new WayPoint 50 receiver. With an additional hour of operation, users of the EnGo 260 transmitters benefit from three hours of live video transmission from the internal rechargeable battery.

The CuePoint 50 and WayPoint 50 Dejero has made the latest version of its Core software available for users. Version 5.4 software runs on all Dejero transmitters, encoders, transceivers and receivers together with Smart Blending Technology for enhancing the reliability of the connection paths and delivering greater bandwidth. The hardware/

www.dejero.com

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Datapath introduces IQS4 videowall splitter DATAPATH HAS created a new one-in/fourout splitter solution engineered for videowall applications, which when paired with its Image4K graphics cards, creates a solution for powering

videowalls consisting of up to 96 screens. The IQS4 splitter is said to reduce the total number of graphics cards needed, streamlining the videowall controller by reducing load and optimising capacity. The splitter also gives integrators the option to distribute video in 4K and split the signals at the videowall rather than having to use separate, expensive extenders for every HD output. The IQS4 can be flexibly mounted to suit a range of applications. VESA mounting is supported for direct mounting behind displays. Where the IQS4s are hosted with the videowall controller, various rack-mount options are

available depending on the number of splitters required, and there is a standalone option for placing on desks, workstations or shelving.

“With the IQS4, we have used that same basic splitter technology to provide a reliable, discreet solution for powering large videowalls,” commented Ben Dale, product marketing manager for Datapath. “With zero configuration required, the IQS4 is a plug-andplay device which offers near-zero latency. By having true ‘splitting’ of quadrants, users and integrators can reduce cabling by distributing video content from the processor in 4K, and then splitting via the IQS4 at the videowall.” www.datapath.co.uk

Prism Player digitally bends the spectrum CREATED FOR media previewing and encoding, Avolites has debuted a software application called Prism Player. Designed to work as an auxiliary tool for the Avolites Ai video software platform, the application is the first release under the Prism product range. With the player’s clear user interface, Prism aims to expand its user base by introducing the discipline to a widening group of video designers and operators. The set of complementary tools aims to help designers integrate video into their individual projects, while improving the user experience for current Ai users. Prism Player’s tool allows the previewing and encoding of media clips without having to connect to a server or Ai application. The Player supports the HAP codec for clips from other servers to be

previewed and transcoded for use in Ai, which can be encoded in batches to save time. Video clips in most common video formats can be encoded into the AiM codec, ready to be loaded into the server. Avolites devised the AiM video codec for projects requiring up to 16 layers of 4K content without losing visual integrity. Content rendered in AiM can also be previewed without uploading to a server. The software also includes a playlist function to preview different pieces of content together. In brief, Avolites has also released Titan v14 including features such as virtual faders, open workspace window overlay, mask effects, handle options and manual crossfade effects. www.avolites.com

Magewell updates and expands Pro Convert family

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DESIGNED TO expand the support for NewTek’s NDI media-over-IP technology, Magewell has added new updates for the Pro Convert for NDI to HDMI and Pro Convert for NDI to HDMI 4K standalone IP decoders. The upgrades have been created for applications such as multi-site video distribution, monitoring, image magnification (IMAG), digital signage, remote production and next-generation media infrastructures. Complementing the decoders’ existing support for full-bandwidth NDI streams, the free upgrades add compatibility with the lowerbitrate NDI | HX mode in NDI 4. The Pro Convert NDI encoders and decoders can bring traditional video signals into and out of IP-based production and distribution workflows, enabling existing sources and displays to work in next-generation media infrastructures. The Pro Convert for NDI to HDMI and Pro Convert for NDI to HDMI 4K decode NDI input streams for output to HDMI monitors, projectors, production or distribution equipment. In addition to NDI technology, the decoders also support SRT, RTSP, RTMP, UDP, RTP and

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Pro Convert for NDI to HDMI 4K HTTP (HLS) streams with H.264 or H.265 compression. The NDI | HX mode supports full-resolution, full-frame-rate video delivery over wireless and limitedbandwidth networks. The Chinese innovator has also introduced a trio of new models within the Pro Convert family of low-latency, videoover-IP encoders and decoders. Designed to bridge traditional video signals with IP-based production, distribution and streaming workflows, the Pro Convert encoders and decoders enable existing sources and displays to work in nextgeneration media infrastructures. The Pro Convert 12G SDI Plus encoder converts 4K/60fps, 12G-SDI input signals into full-bandwidth NDI streams, while the Pro Convert for NDI to SDI and Pro Convert H.26x to SDI decoders transform NDI, H.264 or H.265 streams into high-quality SDI outputs for connection to monitors, projectors and legacy equipment. www.magewell.com

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Claypaky heads to the theatre THE AXCOR Profile 600 Teatro is a newer version of the Axcor Profile 600 ST and features an updated cooling system with mechanisms that are said to significantly reduce the unit’s acoustical footprint (from 38dB to approximately 34dB ambient). This fixture has been designed for venues where noise is a concern and offers a flat, uniform beam with no visible hotspots. With the same physical features, size and effects as its Axcor 600 siblings, the fixture has a zoom range of 5.3–47.2°, CMY colour mixing, linear CTO, a fivecolour wheel, a rotating gobo wheel with seven gobos, a rotating four-facet prism, an interchangeable animation wheel, a motorised framing system on four focal planes, a variable frost filter, a highprecision iris, an electronic linear dimmer and an electronic strobe. It is available

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MA Lighting expands grandMA3 MA LIGHTING has introduced two new products for its grandMA3 onPC solutions: the grandMA3 onPC fader wing and the grandMA3 onPC xPort Nodes DIN-Rail. The grandMA3 onPC fader wing has been designed to be the most suitable

a reliable backbone of synchronised data transpor tation. The Nodes can be configured remotely from any console or onPC station within the session to provide easy access to DMX output or DMX input.

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hardware playback expansion for the grandMA3 onPC software. In combination with this free-of-charge software, the grandMA3 onPC fader wing offers users full playback capabilities and adds 2,048 parameters to the grandMA3 onPC parameter count. The range of grandMA3 onPC xPor t Nodes DIN-Rail have been specifically designed for increasing demands for in-fixed installation applications to build

The grandMA3 onPC software delivers the same software functionality as the grandMA3 full-size, light and compact models and has been designed for events and installations with a maximum of 4,096 parameters. The showfiles of the grandMA3 onPC solutions can be used across the entire grandMA3 system.

Chauvet expands Ovation CHAUVET PROFESSIONAL has revealed the latest addition to its line of Ovation house lights. The new, compact Ovation H-55FC offers versatility in houses of worship and other venues by fitting into smaller spaces. The RGBAL fixture works with the larger H-605FC, as well as other Ovation house lights, to provide an even field of light throughout a room. The installation process is simplified with the removable fixture yoke, sconce mounting kit and recess. The H-55FC features interchangeable lens plates to adapt to different mounting heights. The convection-cooled H-55FC reportedly operates in complete silence, which makes it suitable for applications that need to eliminate distractive background noise. The fixture’s RDM and W-DMX control is said to provide users even greater flexibility. The compact fixture weighs in at 3.4kg and measures 334mm x 176mm x 115mm. It features an array of performance features, including 16-bit dimming, a selectable red shift and virtual colour and colour temperature presets. In other news, Chauvet has released the IP65-rated COLORado Batten Q15 which comes with an array of rigging options said to make it right at home in a wide range of designs. The adjustable trunnions on this 1m-long RGBW LED batten, which can be adjusted without tools on its integrated track, have reportedly been given an even greater degree of versatility with the addition of ¼-turn omega brackets. Adding to the COLORado Batten Q15’s adaptability is a new system for joining different units together. Integrated into the end caps of the fixture is a system to

H-55FC connect units for perfect row alignment. Since these attachments are weight bearing, the COLORado Batten Q15 can be hung “icicle style” or arranged in tower configurations using the included hanging/ floor mount plate. Features include an elliptical 42–15° beam spread, a stowable glare shield, colour temperature presets from 3,200–10,000K and selectable smooth dimming curves. www.chauvetprofessional.com

www.malighting.com

COLORado Batten Q15

e in two different CRI versions: the Axcor Profile 600 Teatro has a CRI of 70 and an output of 28,000 lumens at 6,500K and the Axcor Profile 600 HC Teatro has a CRI of around 90 with an output of 21,000 lumens at 5,600K. Claypaky’s second addition is the HY B-EYE K25 Teatro, which is a special version of the HY B-EYE K25. Like the Axcor Profile 600 Teatro, the newer version is designed for venues that need quiet operation without sacrificing bright colours. The HY B-EYE K25 Teatro has the same optical, electronic and mechanical features as the HY B-EYE K25 but changes have been made to the overall design to reduce the acoustical footprint. This luminaire has 37 40W Osram Ostar RGBW LEDs, a zoom range of 4–60°, a uniform light spread and a rotating front lens with an enhanced

electronic engine for dynamic beam pattern design. Individual control of each single LED is said to produce kaleidoscopic projections and eye-catching effects. The

Kling-Net protocol reportedly enhances creativity and simplifies the management and synchronisation of LED light parameters and functions.

Lastly, the MIDI-B is Claypaky’s new LED-based moving head luminaire with 19 Osram 40W RGBW LEDs. With a zoom range of 4–50°, the fixture has been developed for a wide variety of applications. The narrowest angle is ideal for aerial effects as the beam produced is ultradense and concentrated. At its widest zoom, the MIDI-B turns into a uniform wash light and can replace the heavier and bulkier fixtures. The 19 LEDs are arranged in three independently controllable rings, which can be used for bright back lighting effects. Other features include colour macros, a 2,500–8,000K colour temperature control range, a 16-bit dimmer with four curves, a 25 flashes per second electronic strobe and Ethernet access.

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www.claypaky.com

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PR Lighting move outdoors WITH THE unveiling of the Aqua Marine 580 BWS and Aqua Marine 580 Beam moving heads, PR Lighting has added two new IP66rated outdoor moving models. A double-layer special coating of the chassis accompanied by PR’s sealing system reportedly makes the marine-grade fixtures resistant to a wider range of corrosive media, promoting their use for projects close to or in sea water. Housing either a Philips MSD Platinum 25 R lamp or Osram Sirius HRI 550W XL, both the Aqua Marine 580 BWS (PR-2596) and 580 Beam (PR-2568) are fully featured. Colours include a CYM linear mixing system with macros, a colour wheel with 12 colour filters, Rainbow effect with bidirectional and variable speeds and stepping/linear colour changing while the filters can be in any position. Both moving heads accommodate one fixed gobo wheel and a rotating gobo wheel with seven interchangeable rotating gobos, bidirectionally rotatable and shakeable at

Aqua Marine 580 BWS

Aqua Marine 580 Beam variable speeds. There are four different facet prisms, which can be overlapped. The graphic effects wheel offers bidirectional rotation with variable speeds and can be overlapped with the fixed and rotating gobo wheels. Features also include an independent frost filter. Other functions include DMX linear focus and zoom, 0–100% dimmer and double shutter blade strobe. Head movement consists of 540° (pan) and 270° (tilt), with auto-position correction. The 580 BWS’ light angles are 0–2° (beam), 2–40° (spot) and 3–50° (wash). The 580 Beam has a dedicated 2° beam angle. Ancillary features include adjustable pan and tilt speeds, lamp/fixture hours displayed, RDM protocol, optional Art-Net and wireless DMX512. The dust- and waterproof cast aluminium fixtures are also suitable for high temperatures and resistant to marinegrade corrosion and neutral salt spray for up to 1,500 hours.

Calibrated colour matching ELATION HAS expanded its Fuze series with the addition of its automated LED Fresnel fixture, the Fuze Wash FR. The fixture is designed for any applications where an automated Fresnel fixture with a wide zoom range and framing beam control with a soft field is required. It features a new 480W (6,500K) 92 CRI engine that uses a five-colour homogenised LED array of red, green, blue, mint and amber sources, which is the same colour system used in both the Fuze Profile and Fuze Spot to provide a calibrated colour match. Colour quality and colour manipulation are central to Elation’s Fuze Wash FR. With the inclusion of a virtual gel swatch book, virtual colour correction, magenta/ green adjustment and CMY emulation, it gives designers access to a wide LED colour array, including a mixed white. Both the RGBMA LEDs and extremely high native CRI reportedly work together to ensure accurate colour reproduction while delivering an output of up to 14,000 lumens. The Fuze Wash FR features a specially designed Fresnel lens for a smooth and even wash and houses an 8.2–42.1° (beam) and 12.7–62.1° (field) motorised zoom for tight to wide coverage. The full blackout framing system with four rotating blades gives full control of the beam shape when required and can index ±60°. An add-on variable frost filter is featured for an extra layer of smoothing. The 16-bit selectable dimming curves assist with the fixture’s ability to dim all the way to zero.

The iris for advanced beam control and the high-speed electronic shutter and strobe round out the feature set. In brief, Elation has unveiled the Polar Crisp Max, a high-output snow machine with a 20l fluid tank hidden inside a road case. The unit’s 10m hose can be rigged on a standard truss or tripod stand and can extend up to 30m horizontally or vertically. www.elationlighting.com

Fuze Wash FR

www.pr-lighting.com

Fresnel added to fos/4 series

ETC HAS announced the arrival of the fos/4 Fresnel which, according to the manufacturer, has been designed to take the most desired features of an incandescent Fresnel and add nuanced colour mixing, smooth fades and LED technology to create a true Fresnel with an LED engine. The 15–50° zoom can be adjusted from either the front or the rear of the fixture, while the accessory slot can be used to add any number of beam-control accessories, such as barn doors or soft boxes. The adjustable yoke is said to enable easy balancing of the fixture after focus and the homogenised optic gives users a “seamless beam of light”. Remote control and contactless features include wireless communication using City Theatrical’s Multiverse technology and contactless programming using ETC’s Set Light app via NFC from a mobile device. fos/4 Fresnels are available in two arrays: Lustr X8 for the full gamut of colour mixing and Daylight HDR for the brightest whites. Both arrays include deep red LEDs for nuanced rendering of skin tones, fabrics and scenery. The fos/4 Fresnel outputs up to 9,700 lumens and currently comes with a 7-inch aperture, with 10- and 5-inch variants scheduled to be available in the coming months.

kit with canopy, complete with internal wiring to provide a clean finish. The new Pendant option provides a full-range 100–277V input along with an optional, UL 924-listed variant to take care of emergency egress requirements. Finally, the ArcLamp LED solution has received an upgrade with the addition of a new Flicker variant as well as new driver options. The Flicker lamp creates a 2,700K Fade to Warm effect by flickering randomly to imitate candlelight. Flicker lamps can also be used at constant brightness by changing the DMX value on its single control channel. www.etcconnect.com

fos/4 Fresnel In other news, ETC has added the ArcSystem Pro Four-Cell Pendant to its family of architectural LED luminaires. With this solution, the line now features both Four-Cell Round and Pendant options, depending on a facility’s mounting needs. The Four-Cell Round gives users a choice of hanging hardware, such as a clamp, threaded rod or aircraft cable to be secured to the fixture’s captive hanging point. The Pendant option includes a traditional stem

ArcLamp Flicker

100 PRO AVL ASIA Januar y–Februar y 2021

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Ayrtondaylight starts atoDomino effect ADJ presents From tungsten an Encore AS THE first fixture in Ayrton’s new series of LT (Long dedicated FITTED WITHThrow) a full products range of white to long-range from applications, the Karif-LT reproductions daylight through to is an ultra-compact 300W LED beamtungsten tones, the EclPanel TWC and spot. Equipped with Prolights a 168mmare frontal EclPanel TWCJr from LED soft lens offering a zoom ratiosource of 17:1 lights that provide a wide of and soft a 2.8–47° zoom range,The theEclPanel narrowness and precise colours. TWC is a distinguishable feature of this (1x1; LED. The (2x1; 740W) and EclPanel TWCJr high-efficiency, low-etendue, compact 370W) reportedly reach a superior lightLED modulewith delivers an intense beam which, quality high CRI, TLCI and TM-30. calibrated at are 8,500K, can reportedly The fixtures said to provide quick and generatelocal metallic white light and through deep, accurate adjustment of light vivid colours. Karif-LTwith hasthree an overall three rotatory knobs fully output of 13,000 lumens at with a colour temperature featured modes: CCT ± green shift; of 7,500K a centre-beam luminous HSI for totaland control of hue, saturation and intensity of 3.5 million candelas. Other features include a CMY colour mixing system, a multi-position CTO wheel with seven different colour correction filters, a wheel of 13 complementary colours for infinite pastel hues and saturated colours, nine interchangeable rotating HD glass gobos and a wheel with 39 fixed gobos. Karif-LT also has a glass monochrome multi-position, bidirectional effects wheel and a prism effects system comprising four combinable rotating prisms for creating complex effects. Standard features also include light and heavy frost filters, a dynamic animation effect with speed and fade adjustment and an electronic dimmer for perfect fades.

intensity; and FX mode to access the onboard pixel cinema effects. The units can also be controlled on a per-section basis, allowing for reproduction of on-board customisable effects or to be self-made through the lighting desk. Both methods are said to provide appealing and modern front looks and cinematic special effects. The LEDs are designed with an on-board driver and built-in power supply and, being lightweight, they reportedly offer easy rigging and cabling for a variety of locations. www.prolights.it

Karif-LT Capable of delivering 51,000 lumens from a 1,000W LED source, Domino combines the output and optics of Huracán-X in an IP65-rated body for outdoor applications. Equipped with TWC a EclPanel

ADJ HAS introduced its new range of Encore Profile Pro professional LEDpowered ellipsoidal fixtures, complete with a wide selection of lens options. The Encore Profile Pro WW features a 260W warm white LED light source with a colour temperature of 3,200K. It boasts a high CRI of more than 97 and can generate an even field of light, with no hot spot. The new fixture measures a total light output of 10,000 lumens, while the LED engine has an average lifespan of 50,000 hours when operated with a 26° lens. The new ellipsoidal utilises a 250W six-in-one RGBWAL LED engine, with a 50,000-hour average operational life. The use of the independent dimming allows control of the red, green, blue, white, amber and lime LED elements to generate a spectrum of colours, from vibrant primaries to subtle hues. This feature can also be used to produce colourDomino white light, with a macro function corrected providing a selection of different Kelvin colour liquid-cooling The system ofhas six aIP68-rated temperatures. fixture light output of submersible outside itsa weatherproof 6,000 lumens fans (measured with 26° lens) and enclosure, fixture fitted with a offers a CRI the of more thanis90. 178mm frontalare lens. Its optical system These fixtures interchangeable with ADJ’s uses of 13lens lenses, a 10:1 zoom range tubes.producing The industry-standard design means they can also be used with any

ratio and a zoom range of 6–60°. The optics deliver a uniform flat beam with no hot-spot to reproduce high-definition images over the entire zoom range. Domino comes with a subtractive CMY colour mixing system combined with a variable CTO and a wheel with six colours for pastel and saturated colours. The framing section allows accurate positioning of each of its four shutter blades across a 100% sur face area, existing while the image section includeslenses 14 and ellipsoidal interchangeable HD accessories. glass gobos on two wheels. Both the models support B size metal or HT The effects gobos section contains two manual transparency with a four-blade dynamic effectssystem wheelsaswith framing shutter well continuous as a manual movement in bothThe directions, a CMY focus adjustment. two fixtures offermultilayered fordigital creating multi-coloured smooth wheel 0–100% dimming and variable effects, a standard monochromatic speed strobing. A number of different dimming effects wheel, a 15-blade iris diaphragm, curves can be used. two frost optimising The two filters, fixtures CRI offerand DMXTM30 channel modes: 1, filters, twothe rotating a dynamic 3 or 4 for Encoreprisms, Profile Pro WW and 6, 9 sparkle with speed andColor. fadeThe DMX or 12 foreffect the Encore Profile Pro adjustment andmode an electronic dimmer. addressing and selection can be handled The 52kg is available S and TC via an LEDfixture menu screen on theinback of each versions the former metallic unit, while– five-pin input delivers and output sockets white light atfor a colour are provided the DMXtemperature signal. On theofrear 7,000K, while the is calibrated at a panel, operators canlatter find the locking power colour temperature of 6,000K with CRI input and output connectors which canabe used greater than and supply high TM30 to connect the90 power for up readings. to three fixtures at 120V (eight at 240V). www.ayrton.eu www.adj.com

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BUSINESS: ANALYSIS

All change

As AV and ICT converge, is the way we deliver our services overdue a change? Peter Hunt, CEO of global AV, IT and acoustic consultancy Hewshott International, looks at how the AV industry should use the rapid changes forced by 2020’s pandemic to move to a different model WHILE PARTS OF THE AV MARKET REMAIN BUOYANT, others have been hit hard. One market researcher puts the global AV market at US$15.1bn in 2020 while another has it at $246.5bn – a huge difference, which I suspect is down to the definition of AV. Whether we are a $15bn or a $246bn business, we are growing at an annual rate of 12%, yet don’t sit squarely in the established departments of ICT (information and communications technology) or facilities. Going back 12 months, adoption of new technology in any corporate environment required technical and risk assessments and a rollout plan. Within the last 12 months,

We must push at this newly opened door and lead change in the way AV is delivered many organisations have delivered the seemingly impossible: fully functioning AV systems delivered in days or weeks, not years. While accepting there are risks, the need to keep the cogs of industry turning during a pandemic won out. The realisation that it’s all worked out OK is the dawn of a new era. AV has stepped up and delivered, and, in removing the barriers, traditional blockages that have been bypassed are very unlikely to return. This success has largely been down to an acceptable compromise in video and audio quality, availability of good products and the impetus to get it running over the network.

A recent Hewshott AV project in India

The former has been coming for years, but the latter is probably the biggest game changer. While most of us in AV strive to create quality solutions that are simple to operate, even if they are complex behind the scenes, the rollout of an IP-exclusive solution has mostly evaded us, so we must push at this newly opened door and lead change in the way AV is delivered. The ICT industry dwarfs AV. Whether we sit at $15bn or $246bn, the ICT industry’s annual growth alone is around $150bn (2020) and climbing, with an estimated annual spend of between $2.5tn and $3.8tn. This is around 10–15 times the size of the AV industry, with mature qualifications and delivery methods that are the mainstay of most businesses and millions of careers. Physical hardware that requires services has been the backbone of ICT solutions across multiple industries but is largely invisible to the dayto-day user. Without it, most businesses would stop working pretty quickly. Switching to cloud-based technologies just moves some of the physical requirement into data centres; the need doesn’t go away. This gives rise to the expectation that ICT, whether onpremises or remote, is standard stock that can be procured in high volumes at low margin. It’s the mandatory support and maintenance service agreements that generate income streams – ICT is mission critical, and AV is becoming increasingly so, as we’ve found out recently. As AV becomes part of ICT, there is a ready-made implementation methodology as well as a digital highway that enables AV systems, whether on-premises or cloudbased. This begs the question: why would AV not make the most of this? If AV was invented today, it would be an ICT device and procurement, service and operations would be aligned to the existing ICT model.

But there’s a danger that AV is seen to be just another network appliance. While businesses have stepped out of their comfor t zone to sur vive 2020, the client procurement of ongoing solutions will likely see a return to traditional processes, with AV in the ICT sphere. While this should work in our favour, the challenge lies in protecting core AV skills; categorising all AV as just another network appliance would be a mistake. Then there’s the third way: construction contractors who have long delivered WAPs, racks, network cabling and active equipment within their scope of work, the physical installation. Will IP-based AV equipment such as nextgeneration IP speakers and microphones follow suit? Will it be extended to include IP cameras, screens and the emerging USB devices? I’m seeing a future where IP-based AV devices in 100 meeting rooms are physically installed by main contractors who are increasingly tech savvy. This could get messy – the proliferation of off-theshelf, seemingly good plug-and-play solutions comes at a reputational or functional cost when incorrectly sourced. The AV industr y needs to make sure we’re seen as a decent meal not a fast-food takeaway. The magic of pictures and sound, the emotive atmosphere that exemplar y AV creates in a space, has a physical and vir tual requirement. A quality AV experience isn’t created with $99 devices from the local computer store, but it’s not racks full of AV hardware either. Will the AV industr y sur vive in its historic state? Probably not. Will the supply chain bend to market pressures to sell products to non-traditional AV channels to ensure they are sold into a project? Probably, and there’s evidence it’s already happening in some par ts of the world. If this is the way the market is going, what’s next? Firstly, consultants have a role to play in steering this transition to maintain quality and accountability for the final solution. Detailing a prescriptive design is aligned to the architectural space where ever y detail is itemised to protect the integrity of the client’s AV experience. Early engagement with architecture and immersion with the client’s ICT depar tment will avoid a glorious mess. Integrators of today will be different tomorrow. The supply of hardware will probably become a smaller par t of their business, with multiple ser vice offerings being the larger par t. As IP routing and switching of AV becomes the norm, programming capability and network architecture fluency will over take the physical element of any AV installation. Some clients will continue to deliver in the traditional way, and there will be specialist projects where this approach is warranted. The rapid uptake of AV technology over IP in the last 12 months points to a different approach and therefore deliver y process. There is no per fect solution, but the tide has turned. To preser ve the unique nuances of AV, we must swim with, not against it. www.hewshott.com

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Introducing K3: a versatile loudspeaker satisfying all your requirements for mid-size events and venues without any compromises. Completing the K series line, K3 boasts an optimal mechanical design for reduced weight, Panflex™ variable directivity, laminar vents for a powerful, linear low-frequency response down to 42Hz, and class-leading SPL. Optimized for audiences of 1,000 to 10,000, K3 reduces the need for amplification and dedicated subwoofer, making it faster, more straightforward, sustainable, and economical to deploy. It’s ready for your next event. l-acoustics.com

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