“Everything about it feels premium, with a proper connector on the back, decent fittings and two options of how you hold the cabinet, either on a mic stand or in a little frame.
Paul Timmins 22live Unite Your Audience The Martin Audio Experience UNITE YOUR AUDIENCE WITH OUR STRONGEST EVER LINE-UP
Welcome to the first issue of Pro AVL Asia for 2025. Looking through the contents as we went to press, I was reminded once again just how diverse our AV and lighting industries are becoming. This issue encompasses audiovisual applications ranging from golf (p58) to tribute bands (p48), from the collection of rare synthesisers and a desire to share them with the music industry (p60) to providing a hybrid educational model for a management institute (p54). A Thai nightclub gets a 1970s’ design (p52) while a new cultural attraction in New South Wales celebrates Indigenous Australian Dreamtime (p62).
The world of AV is spilling into all walks of life, enhancing experiences for consumers and adding efficiency and ease-of-use for end users. Of course, nowhere will this be exemplified more than at February’s ISE exhibition, which is promising more than 1,500 exhibitors – a 10% increase over last year – as well as a full education programme and a series of separate summits addressing different market verticals and topics. We at Blank Canvas Publishing join in wishing all of you, our readers, a happy, peaceful and prosperous year ahead. We hope to see as many of you as possible on our travels, experiencing all that’s new and exciting in AV.
Richard Lawn General manager rlawn@proavl-asia.com
Nick Smith Digital media manager nsmith@proavl-asia.com
Sue Gould Advertising director sgould@proavl-asia.com
Chris Yardley Video editor cyardley@proavl-asia.com
Carolyn Valliere Sales associate cvalliere@proavl-asia.com
Jack Stennulat Digital content creator jstennulat@proavl-asia.com
Simon Luckhurst Senior reporter sluckhurst@proavl-asia.com
Adrian Baker Production manager abaker@proavl-asia.com
Karen Wallace Editorial coordinator kwallace@proavl-asia.com
Marne Mittelmann Circulation manager circulation@proavl-asia.com
Bea Meikle News editor bmeikle@proavl-asia.com
Sue Su Guangzhou manager ssu@proavl-asia.com
d&b audiotechnik Greater China has relocated its Guangzhou office and opened its first Soundscape experience centre in the city. The move reflects d&b’s ongoing strategy in the region and its intention to promote the Soundscape immersive audio system in the local market.
The new office is situated in Giant Creative Park in the Panyu District near Guangzhou South railway station, a key hub of the audio industry. Covering approximately 700m2, it includes office and conference areas and a 200m2, 6m-high Soundscape experience centre. d&b’s sixth such centre in the region, it joins others in Hong Kong, Beijing, Nanjing, Taipei and Shenzhen.
The opening ceremony was attended by partners, industry professionals and media representatives. Leaders from local industry associations also gave speeches to mark the occasion.
“We have always planned to open a Soundscape experience centre in Guangdong,” said Daniel Chan, CEO,
QSC has reached a definitive agreement to be acquired by industrial technology company Acuity Brands for US$1.215b. Through the agreement, QSC will become part of Acuity’s Intelligent Spaces Group to execute both parties’ joint vision of developing technologies that leverage data interoperability.
Acuity Brands will acquire the company for a purchase price of $1.1b, net of expected tax benefits, which represents approximately 14 times QSC’s estimated EBITDA for the last 12 months and double sales of $535m. It is expected to be accretive to Acuity’s fiscal 2025 full year adjusted diluted earnings per share.
“Bringing QSC together with Acuity underscores the critical role AV technology plays in live, hybrid and virtual experiences,” said Joe Pham, chairman and CEO, QSC. “Our two organisations are aligned on a long-term mission and core values that drive our mutual passion for innovation, customer satisfaction and employee well-being.”
“In our Intelligent Spaces business, we are delivering meaningful outcomes for end users that are powered by disruptive technologies and that generate strong financial results,” said Neil Ashe, chairman, president and CEO, Acuity Brands. “QSC has built a differentiated cloud-manageable audio, video and control platform that controls what happens in a built space. Our acquisition of QSC builds on our vision of data interoperability as we continue to make spaces smarter, safer and greener.”
future direction of sound development as believed by scientists at our headquarters. We aim to help our customers and creative teams to understand the technology better through continuous demonstrations, education and training, so that the system can become their creative tool.”
The event concluded with a ribboncutting ceremony, traditional lion dance performance and a demonstration of the Soundscape system featuring E8 speakers, 5S front fill and surround speakers, B6-SUB subwoofers and 5D and 10D amplifiers.
The manufacturer plans to use the Soundscape centre for a range of activities, including technical training, seminars and collaborative events. The aim is to create a platform for learning, communication and innovation in audio technology and its integration with the arts in South China and beyond.
www.dbaudio.com
The Adam Hall Group recently concluded a successful meeting with its Asia Pacific (APAC) partners in Bali. Staged in the Indigo Hotel Bali Seminyak, the German manufacturer welcomed almost 60 distributors from the region for a diverse range of presentations of its latest Cameo, LD Systems, Gravity and Palmer products.
Jatan Shah, president, QSC, added: “From our roots in pro audio to our Q-SYS platform solutions, our talented teams are wellpositioned to bring our mission to life for our customers, ecosystem partners and our systems integrators who serve them. With Acuity’s Intelligent Spaces Group, our rich landscape of data will deliver dynamic and engaging experiences that captivate and inspire.”
www.qsc.com
Over the past decade, the group has been expanding its distribution network in APAC. Headed by COO Markus Jahnel, the Adam Hall Group team, including global business development manager Alessio Foti and global marketing director Kati Eismann ensured that the various sales departments were informed of the latest developments and highlighted tailored sales and customer strategies for each country and region.
In addition to presenting new products,
a broad array of workshops ranged from marketing to ordering, shipping and product certification. Following the presentation of awards to several sales departments for outstanding performances, the multiday event concluded with a relaxed Balinese al fresco dinner with drinks and live music.
“The APAC partner meeting in Bali was a complete success,” commented Jahnel. “There’s nothing quite like engaging in conversation and exchanging ideas in person onsite. Although the APAC region, like many other regions around the world, is facing major challenges due to current geopolitical developments and obstacles to market entry because of tariffs and regulations, we are looking positively into the future and seeing each other again in 2026 at the latest – namely in Thailand!”
InSight Systems has joined the Hibino Corporation through a majority share acquisition by the Japanese manufacturer. By gaining access to Hibino’s resources and expertise, InSight Systems aims to expand its business across Australia and enhance its service offerings.
“The acquisition brings new energy to InSight Systems and enables us to build on the exceptional service we provide,” said Dan Baldwin, executive director and co-founder. “It gives us the financial backing and resources to grow our business in Australia, invest in our team and continue delivering the innovative workplace technology solutions our clients expect.”
Wayne Schultz, co-founder and executive director, added: “With Hibino’s support, we’re in a stronger position to expand our capabilities and this partnership
The Production People (TPP) has upgraded its audio inventory with solutions from JBL. The company has made the investment as a response to increasing demand for diverse audio solutions at large-scale events.
TPP elected to make the upgrade following director Sheldon Gooi and his audio team’s visit to the JBL Tour Summit where they were impressed by the VTX A-Series’ offerings. “The VTX system was a revelation,” noted Gooi. “From the seamless integration of hardware to the powerful sound quality, it’s exactly what we need for increasingly large events.”
The solution was provided by Electronics & Engineering (E&E), with the E&E team working with TPP to facilitate in-depth testing of the VTX system directly within the company’s warehouse. With JBL VTX A8, A6, B18 and B28 loudspeakers at its disposal, TPP explored various setups and techniques. Harman’s team also provided hands-on support, including onsite training to further solidify the team’s confidence in the system’s capabilities
for event deployment. This collaboration also resulted in TPP replacing its entire portable PA inventory with the JBL EON One Compact, EON One MK2, PRX908, PRX912 and PRX918XLF.
“We specialise in a broad spectrum of events and having consistent, high-quality audio solutions is paramount,” added Gooi. “JBL’s extensive product range, coupled with E&E’s exceptional after-sales support, ensure we deliver premium sound and service at every event. This partnership positions us as leaders in the market, ready to take our audio offerings to new heights.”
Gary Goh, CEO of E&E, remarked: “We’ve enjoyed a longstanding relationship with Sheldon and it’s been rewarding to grow this collaboration over the years. We’re delighted to see this partnership evolve through their latest acquisition, which will undoubtedly elevate event experiences for their clients.”
Amar Subash, VP and GM, Harman Professional Solutions APAC, concluded: “JBL’s rich heritage in consistently delivering professional loudspeakers with
unparalleled performance and reliability, based on a deep understanding of the demands of live sound, makes it a solid investment. We are happy to welcome TPP to the fast-growing network of VTX
and Schultz will continue to lead the company as executive directors. “With Hibino’s backing, we’re excited to continue growing and bringing new opportunities to our team,” said Baldwin.
Tad Shimojima, deputy general manager, Hibino, said: “We are excited to support InSight Systems as they continue to grow and succeed in the Australian market. InSight’s dedication to innovation, quality and client satisfaction perfectly aligns with our own values at Hibino. We look forward to working together to deliver exceptional workplace technology solutions and helping InSight Systems strengthen their position even further across Australia.”
www.hibino.co.jp/english www.insightsystems.com.au
Series rental houses across APAC and are excited to see them elevating live event experiences with JBL.”
www.tpp.com.sg
Hosting its third edition to date, Krista Exhibitions presented Pro AVL Indonesia Expo in one hall of the JI Expo Kemayoran in Jakarta. Swapping excessive decibels in dark rooms for professionally designed stands competing with educational schedules, today’s exhibitions have come a long way since the 1990s. Although Pro AVL Indonesia is closer to the yesteryear category, it fills a much-needed void for those operating in the AVL industries in West Java and beyond. Billed as a professional AVL and technology exhibition, the three-day event showcased technologies from local producers and suppliers, together with Chinese manufacturers. Indonesian manufacturers are starting to make themselves visible and, in the case of Sora Systems, heard. The established Indonesian distributor founded the Acoustic Sound Image Integrated Solution (ASIIS) brand several
such exhibitions. But with almost half of the exhibitors originating from China, there can be no doubt they are seeking to benefit from a growing economy in a region that is home to over 280m people. Collaboration continues to be in vogue and perhaps this show in the JI Expo Kemayoran extends this theme, whereby Indonesian investors and Chinese brands can mutually benefit one another.
Three days appeared to be excessive for a show confined to one hall and certainly the daily opening hours of 10am–7pm tested the will of several exhibitors. However, the demand for a local exhibition exists among Indonesians operating in the entertainment industry. Should Krista Exhibitions upgrade in 2025, its appeal could easily extend beyond the archipelago.
proavl-indonesia.com
The Martin Audio Open Days recently took place in Indonesia, organised by distributor Goshen Swara Indonesia, alongside systems integrator Global Multipro Technology (GMT). The
event attracted over 100 attendees to Jakarta’s Goshen Ballroom, including rental companies, systems integrators and audiophiles.
Yudha, tech support, Goshen Swara Indonesia, kicked things off with a presentation exploring the technical
specifications behind Martin Audio products. This was followed by audio demonstrations, including the BlackLine speakers and WPC, WPS and Torus models, enabling participants to compare the characteristics of each speaker.
One interactive demo session asked attendees to guess which speaker was playing among the FlexPoint FP4, FP6, FP8 and FP12, encouraging participants to get familiar with their different qualities.
A highlight of the event for many was the demonstrations of the Torus, WPC and WPS units. “My favourite Martin speaker is the WPC line array, with dual 10-inch speakers, I could hear the clarity very distinctly, the mid-low was also noticeable and the sound was clear,” noted Hendri from HQ Sound. Satrio, technical director, GMT, shared insights on various projects that GMT manages using Martin Audio products, as well as practical tips for field applications. This was followed by an introductory session on Optimal Audio.
www.goshen.co.id www.martin-audio.com
www.optimal-audio.co.uk
Kolkata-based KG Movie has expanded its inventory with solutions from d&b audiotechnik, DiGiCo and DAS Audio. The investments are aimed at meeting the ever-evolving demands of the live event industry in Eastern India.
Established 20 years ago, KG Movie has supported some of Eastern India’s largest music concerts and festivals alongside corporate events and private functions. “Our clients rely on us to deliver exceptional sound quality and performance and our recent acquisitions from d&b, DiGiCo and DAS Audio will help us to exceed every expectation with absolute ease,” commented Manoj Singh, director and CEO, KG Movie.
The purchase includes 32 d&b KSL Series line arrays, alongside 16 SL-GSUB cardioid subwoofers, provided by local distributor Ansata. These complement the company’s inventory of V-Series and T-Series line arrays, plus B-Series subwoofers. KG Movie has also added 24 DAS Audio EVENT-212A line arrays
Altair Audio has announced that its product catalogue will be separated into two distinct brands, Altair Intercom and Altair proaudio. Both brands will have an individual corporate image, pricing policy and distribution network.
The company said that the decision was made to give its audio products the right relevance,
and 12 EVENT-218A subwoofers, supplied by Stagemix Technologies, alongside a DiGiCo Quantum338, complete with the SD-Rack, from Hi-Tech Audio & Image.
“We have been loyal users of d&b systems for close to a decade now and transitioning to the KSL series felt like a natural progression for us,” said Singh. “Furthermore, this acquisition has made KG Movie the only company in Eastern India to boast an inventory of over 100 d&b loudspeakers.”
Singh also remarked on the DAS Audio and DiGiCo investments: “As a comprehensive line array system, the EVENT-212A and EVENT-218A provide exceptional sound, steadfast reliability, unparalleled user-friendliness and value beyond comparison across the board. The Quantum338 is a game-changer for us – its advanced processing capabilities and user-friendly interface allow our engineers to deliver flawless mixes with ease.”
www.kgmovie.in
space and commercial framework, as well as to simplify the structure and catalogue of its intercom brand. Altair Audio believes that the move can achieve greater overall relevance, market presence, improved service and will offer more prosperity for both brands.
www.altairaudio.com
The Asia Events and Equipment Federation (AEEF) has been officially formed, a new chapter in ASEAN’s events and professional audiovisual and lighting equipment industries. The collaboration unites key industry stakeholders and players from Singapore, Malaysia, Indonesia, the Philippines and Thailand to foster stronger alliances across borders, promote education development and set new standards for the industry in the region.
The AEEF will serve as a collective voice for professionals in the AVL staging and equipment industries. It seeks to address shared challenges, leverage opportunities and create a network that strengthens business growth and development across Southeast Asia.
Key objectives of the federation include industry standardisation by establishing best practices and unified standards to enhance regional event safety and quality, plus cross-border collaboration to foster business opportunities and partnerships between members. It also aims to enhance education and talent development by creating an accessible learning platform for new industry developments, alongside investing in training programmes and promoting career opportunities.
The AEEF will work closely with the founding countries’ respective government bodies, associations and other stakeholders to drive policy improvements and support initiatives that benefit the industry.
“The formation of the AEEF marks a bold step forward in fostering regional collaboration, empowering local businesses and elevating our collective capabilities to meet the evolving demands of the global market,” said Rizal Kamal, chairman, Association of Arts, Live Events, Concerts and Festivals (ALIFE), Malaysia.
“The AEEF represents our shared commitment to elevating standards and ensuring that the region’s events and AVL industry continues to be competitive on the global stage,” noted Rudi Hidayat, executive director, Association of Indonesian Audio Video Music Equipment Activists (APAVMI), Indonesia.
Thomas Fondevilla, chairman, Pro AVL Association of the Philippines, added: “This alliance brings together the best minds and resources from across SEA, enabling us to set new standards of excellence in the events and AVL sectors.”
“Through the federation, we are creating a unified platform where ideas, innovation and opportunities flow across borders, driving ASEAN’s event industry to new heights,” commented Jackson Yeoh, executive director, Pro Audiovisual & Lighting Integration Association (AVLIAS), Singapore.
“By uniting the strengths of our respective partners, we can foster education, improve standards and open new avenues for growth across SEA markets,” concluded Thanatron Khamsamrit, VP, Thailand Professional Lighting Audiovisual Systems Association (TLAV), Thailand.
Bosch is selling its Building Technologies division’s product business for security and communications technology to European investment firm, Triton. The transaction encompasses three business units – video, access and intrusion and communication – the entire product business of Bosch Building Technologies that was offered for sale. Through the agreement, all 4,300 associates employed in these units at over 90 locations worldwide will be taken over. It was noted that the purchase price and other details of the purchase agreement will not be disclosed. The transaction is expected to be closed by the end of the first half of 2025.
As part of its realignment of its Building Technologies division, in October 2023 Bosch announced that it would be selling most of the division’s product business. “It was our aim
to find a suitable buyer who will acquire all three security and communications technology business units and offer their associates an outlook for the future,” said Christian Fischer, deputy chairman of the board of management of Robert Bosch, with responsibility for Bosch Group portfolio management and thus also for the planned transaction. “We have achieved that aim. Triton has presented a sustainable and credible growth strategy for the business. As an investor, it can provide a high level of industrial expertise and many years of experience in taking comparable companies forward.”
Triton focuses on investing in European companies in the industrial, healthcare and business services sectors. “We are pleased to have reached an agreement with Bosch and to be the preferred buyer for the security and communications technology product business,”
remarked Claus von Hermann, managing partner and co-lead, Triton’s industrial tech team. “We want to support the management and employees to continue the strong growth trajectory that this business recently saw by providing not only capital, but also our know-how from having owned and successfully developed other companies in the security space.”
Peter Loeffler, CEO, Bosch Building Technologies’ product business, added: “With Triton as our new owner, we will work together to push ahead with innovations in the security and communications area. The entire team is looking forward to making our new company a
success and will remain a reliable partner for our customers.”
Through the realignment, the Building Technologies division is to focus on its regional integrator business, with solutions and services for building security, energy efficiency and building automation. Furthermore, the product business with fire-alarm systems is to be merged with the integrator business and continued. The company reported that following this transaction, it will have approximately 8,000 associates in eight countries.
www.boschsecurity.com
Organiser of the GETshow, Industry Association of South China Entertainment Equipment (SCEE), has announced that the 2025 exhibition will be held from 24–27 February in Zone B of the Canton Fair Complex in Guangzhou. According to the organisers, the total area of the show has
In addition to the exhibitors on the show floor, there will be various activities and competitions held, such as the GETshow Cup youth stage lighting designer competition and the first GETshow Cup China sound engineer competition. These initiatives are aimed at building a broader stage for the growth
for audio, alongside a cultural tourism hall and a conference system hall).
The 2025 installment aims to welcome professionals from over 100 countries and regions, with a strong marketing campaign currently being carried out by the organisers covering various forms of media. Furthermore, professional buying groups from major market segments have been invited to attend the show.
“Since our successful launch in 2011, GETshow has become a powerful organisation to serve our members and the whole industry,” said Liang Zhiyuan, president of SCEE. “GETshow aims to build a comprehensive platform for demonstration, communication and cooperation.”
www.getshow.com.cn/en
www.sceechina.com
Audio-Technica Southeast Asia (SEA) recently delivered a seminar tour, Crafting Compelling Audio Experience, across Singapore, Manila, Bangkok and Jakarta. Each city played host to two-day events, attracting a diverse audience, including broadcasters, content creators, systems integrators, consultants and end users from sectors such as education, hospitality and corporate industries.
The seminar featured Alexander Lepges, technical director at Audio-Technica EMEA, as the keynote speaker, providing in-depth knowledge in engaging and personable presentations. His sessions were highly interactive, welcoming questions and feedback from participants.
During the sessions, Lepges introduced the AT-LINK and its approach to the current installation landscape. The manufacturer’s Engineered Sound Wireless and System 20 PRO were also showcased, alongside the ATND1061DAN digital microphones and ATDM-0604a digital mixer.
The technical director also delved into the 3000 Series, 3000 IEM and 3000 Digital wireless systems which are targeted at rental houses. The main topic of the seminar was
surround sound and 3D sound design. The BP3600 immersive microphone took centre stage, allowing the audience to understand the various 3D workflows for broadcasters, film applications and content creators. This was further supported by highlighting how the products have been used by MotoGP.
Shaokai Teng, managing director at AudioTechnica SEA, commented: “Alexander is an outstanding presenter with unparalleled industry knowledge. He effortlessly connects AudioTechnica’s technologies to real-world projects, explaining challenges and outcomes in an accessible yet informative way.”
Teng also emphasised the company’s focus on immersive sound, particularly its relevance to broadcasting and content creation. “We’ve been deeply involved in numerous sporting events and we wanted to illustrate how immersive audio elevates content. Content creators are always striving to enhance their visuals and we’re here to help them deliver equally compelling audio experiences for their audiences.”
www.audio-technica.com
European provider of technical solutions for the event and rental staging market, Groupe Novelty-Magnum-Dushow has announced its rebranding as Groupe Novelty. The move, which includes a new logo and fresh corporate identity, positions the rapidly expanding company for further growth and underlines its position as a 360° provider of
of the Groupe Novelty brand is intended to create a cohesive identity for the multifaceted organisation. “Our new name, Groupe Novelty, unifies our diverse stable of specialist businesses and sets the stage for further international expansion,” said Jacques de La Guillonière, founder and president, Groupe Novelty. “With over 40 years of experience and
rebrand, we want to share our unique strengths as a business with an even wider audience.”
Groupe Novelty’s core brands are Novelty, which specialises in AV solutions for events, including fashion shows, expos, brand launches and corporate and cultural events; Magnum, a French technical service provider for large-scale indoor and outdoor events; and Dushow, a live
Collectively, Groupe Novelty’s companies are involved in over 15,000 events annually and employ 3,500 contract workers each month. The group has 20 offices boasting warehouses in France and another 12 internationally, including seven in Europe and five in the MENA region, and an annual turnover of over €370m, of which it invests close to 10% in new equipment every year.
“With 15 companies under one roof, Groupe Novelty is able to manage every aspect of an event or fixed install project in a way that very few businesses can,” explained de La Guillonière. “This gives us a unique insight into what it takes for an event to be a success and our clients know they can trust us to be with them at every stage of the journey.”
Looking to the future, the founder enthused about the possibilities presented by the new identity: “The name ‘Groupe Novelty’ embodies both our global ambitions and our values as a business: excellence, innovation and our signature ‘French touch’. Our existing clients are increasingly relying on us to support them abroad. With the recent appointment of Christophe Piette as deputy CEO, we are best equipped to support this international growth and help to strengthen our industry commitment on the global stage.”
www.groupe-novelty.com
Chameleon Touring Systems has invested in Elation’s Proteus Maximus and Proteus Brutus power luminaires, expanding the production company’s ability to deliver robust lighting solutions for high-profile tours and major events across the region.
The fixtures were supplied by ULA Group, Elation’s exclusive distributor in Australia and New Zealand. They have already been used for two landmark events: the 2024 National Rugby League (NRL) Grand Final at Accor Stadium in Sydney and Knockout Outdoor, Australia’s largest outdoor music festival at the Sydney Showground.Other notable events have included Pearl Jam’s Dark Matter tour, Coldplay’s Music of the Spheres tour in Australia and New Zealand, as well as Australian shows for Take That and The Killers.
Chameleon sought to replace several outdated lighting fixtures in its inventory from brands that no longer offer this category of light. Tony Davies, owner of Chameleon Touring Systems, began exploring Elation Proteus fixtures at last year’s LDI tradeshow and worked with ULA Group’s managing director Cuono Biviano to look more closely at build quality and light output.
“We put them up against a couple of existing fittings as a benchmark and were impressed,” Davies said. “The output from the Proteus Brutus is incredible, especially for a non-discharge fixture, and the Maximus delivers excellent spot and long-throw beam capabilities.” In addition, their IP65 rating is well-suited for the Australian climate, where outdoor events are common.
Davies noted the growing presence of the Proteus series on international rider specifications. “We’ve seen Proteus fixtures appearing on multiple US and European tours and, from our view, it has become the American fixture at the moment,” he stated. “Proteus offers a punchy, reliable spot and wash that can handle the outdoor conditions, and the time was right to invest in it.”
The purchase marks Chameleon’s first major commitment to Elation products and Biviano and his team looked after Chameleon every step of the way. “We are elated that Chameleon Touring Systems have made a major investment into Elation flagship products,” said Biviano. “Working through the acquisition process with Tony and his team, I was really impressed by their thorough due diligence processes and the attention
to detail he and the team demonstrated when selecting these products. The way they operate and prioritise their clients and the market’s needs are a true testament to being a market leader. We
look forward to growing the Australian Elation fleet with them.”
www.chameleon-touring.com.au www.elationlighting.com
The IP-rated Ci series by Blaze Audio, available in black and white variants, is a unique line of high-performance loudspeakers designed in Denmark for indoor and outdoor commercial applications that blend into any space while providing exceptional sound quality for speech and background music. The top box’s modular 90° cabinet—equipped with built-in mounting sliders and hidden cabling— ensures a smooth, integrated look in vertical or horizontal corners and surfaces, as well as the coupling of up to three cabinets to meet the characteristics of free-standing corners and other unique setups. For enhanced low-end performance, the Ci series’ 2”, 4”, and 5” models—with optional high-impedance versions—can be paired indoors with the C8S and C12S subwoofers.
Available now
Founded in 2017 in Yogyakarta, Flazh Productions has rapidly ascended the ladder of Indonesia’s preferential live production companies. As a recording studio engineer, Debyo W had witnessed a growing demand for professional audio and lighting systems being used for weddings plus school and corporate events. The decision to close his recording studio was not taken easily, but Debyo’s choice to transfer his skillsets to live production proved to be the right one.
“Looking back, it was a masterstroke, but at the time it was hard,” Debyo recalled. Choosing not to seek investment, he saved the profits from local concerts and events, by investing in used RCF loudspeakers. “Ever since I heard the ART 500 Series speakers, I was won over by the character and the quality of the RCF sound. This aspired me and I set a target to buy a new RCF system one day.”
The stagnation felt at the start of the current decade was merely an interruption
in Flazh Productions’ upward trajectory as post-pandemic business has boomed. “We have hardly taken a day off since late 2021,” he furthered. “As demand grew and our network of clientele expanded throughout Java, I opted to invest in a used RCF TTL33-A Mk1 line array module augmented by VMAX 218-S subwoofers.” The investment paid off and the flexible and reliable TTL33-A inventory had to be doubled to keep pace with demand.
His target to purchase a new RCF loudspeaker system did not take long and was motivated more by need rather than desire. A TT+ Audio GTX loudspeaker system comprising 24 GTX10 cabinets, 16 GTS29 subwoofers and nine XPS16K DSP amplifiers is now driving Flazh Productions into the next phase of its development.
“Not only is it RCF’s flagship, but the TT+ Audio is such a versatile system that can be used indoors, outdoors and be scaled up and down,” continued Debyo.
“Furthermore, it is compatible with the TTL-33A system and both speakers can easily be configured through the RDNet sound system management and control software. GTX is in demand throughout Java and by owning it, we are catering for international touring acts and more professional events including musical festivals.”
The increase in demand in seven short years has fuelled the requirement for added technical inventory, personnel and warehousing; however, Flazh Productions has resisted financing and outside investment. Close relationships with
clients and suppliers, however, remain paramount.
“We acquired the GTX system from PT Kairos Multi Jaya,” concluded Debyo. “We have received such wonderful technical training and support from them. Their engineers shadowed ours for our first big event, the ‘Endless Euphoria’ three-day festival at AEON Mall, to make sure we weren’t making any mistakes. It’s almost plug and play, so our crew knows how to set up the GTX for any event now.”
www.ttaudio.com
Scene Change Sydney has enhanced its production capabilities with the addition of 150m2 of ROE Visual Topaz-Curve and Topaz panels, reportedly becoming the first in Australia to invest in TP-C. The expansion complements the company’s inventory of 200m2 of Graphite panels, which recently took centre stage at Paramount Upfront 2025.
“Our focus has always been on delivering our client’s creative concepts in the most efficient manner and the addition of ROE Visual’s Graphite and Topaz panels allows us to do just that,” said Anthony Pellizzari, head of video, Scene Change. “The lightweight design of the Graphite panels allows for quick and easy setup, reducing labour time and minimising errors. Adding the Topaz series further broadens our scope, supporting our team’s versatility by providing adaptable configurations, to cater to a wide range of events.”
Paramount Upfront 2025 in Sydney
Behind every great brand is a Tim.
Tim takes care of your business, so that your customers can take care of the show.
Tim understands live event industry technologies and their application and cultivates strong relationships to develop and strengthen your business. We work with world-leading Audio, Video and Lighting brands and suppliers to help find top talent for their business and engineering teams in the UK, EMEA, North America and APAC. Interfacio connects professionals with world-leading pro AVL brands.
www.interfacio.com connect@interfacio.com Int: +44 208 986 5002 @interfacio
John Dinh, director, Scene Change, commented: “Visiting the factory and witnessing the dedication behind ROE Visual’s R&D has been incredible – not only in refining their products but also in actively involving us in the process. Their openness to further develop both new and existing products around our needs, along with the standout support from Liam, Sam, Luc and the entire team, has turned this partnership into a shared journey rather than a typical supplier–client relationship.”
Grace Kuo, sales director at ROE Visual, concluded: “Scene Change is a tight, well-drilled group who makes every moment count as the show goes in. Their commitment to high-quality event production mirrors our dedication to creating reliable, cutting-edge display solutions.”
www.roevisual.com
www.scenechange.com.au
Robust, transversely watertight and aramid-reinforced custom-designed cable solutions for outdoor use
Wide range of cable and connection technology products for fully networked installation concepts
Classified cable bulkware in line with the EU Construction Products Regulation (CPR)
Connection-ready media/network/fiber optic systems for robust mobile and installation applications
Transversely watertight, halogen-free, UV- and microbe-resistant Salt and fresh water resistant outer jacket
SOMMER CABLE based in Straubenhardt/Germany was founded in 1999 and is now one of the leading suppliers of professional high-quality cable and connection technology with a focus on the audio, video, broadcast, studio and media technology sectors. The product range including the in-house brands HICON, CARDINAL DVM and SYSBOXX covers cable bulkware, connectors, connection cables, individually adaptable distribution systems and electronics. A B2B shop with over 25,000 products is available 24/7.
Expanding its presence in SEA, Sonance has appointed Electro-Acoustics Systems as its official distributor for professional products in Singapore. The partnership aims to provide end customers in the region with enhanced service and increased product availability.
Morten Jorgensen, Sonance’s VP of professional audio, remarked: “Electro-Acoustics Systems has a longstanding reputation for excellence in delivering professional audio solutions and we are excited to appoint them as our trusted partner in Singapore. Their expertise and commitment to exceptional service align perfectly with our
mission to bring innovative, high-quality and aesthetically appealing audio technology to customers worldwide.”
Dave McKinney, MD at Generation AV, Sonance’s representative for Asia, added: “We are thrilled to work with Electro-Acoustics Systems as our distributor in Singapore. Their knowledge of the local market and strong industry relationships make them an ideal partner for Sonance as we expand our professional audio footprint in the region.”
“We are excited to unveil our partnership with Sonance,” said Lam Tze Tze, executive director, Electro-Acoustics Systems. “Their commitment to superior audio solutions, quality products and innovation is in line with our company values. Together, we can provide even more innovative solutions for our customers.”
www.easpl.com.sg www.sonance.com/pages/professional
Analog Way has named New Delhi’s Ösel Devices as its exclusive distributor in India. Ösel Devices specialises in LED display solutions and digital signage, and delivers high-performance products for diverse industries, including retail, entertainment and broadcasting.
“Analog Way is delighted to expand our presence in India with the addition of Ösel Devices as our exclusive distributor for the subcontinent,” said Guy de Souza, Analog Way’s vice president, Asia. “The company is held in high regard in the industry and will be an asset to broadening our reach in South Asia.”
Ösel Devices’ head of sales VK Mohammed added: “We are excited to bring Analog Way’s industry-leading AV solutions to the Indian market. This partnership enhances our portfolio of highquality display and control solutions, allowing us to offer our clients unparalleled performance, reliability and flexibility for their visual experiences.
Void Acoustics and Motifv8 have partnered in Malaysia. Founded in 2016, Motifv8 is backed by a specialist team of audio and lighting experts providing solutions for various high-profile projects across a range of sectors like houses of worship, stadiums, entertainment, education and premium hospitality.
“We’re excited to officially appoint Motifv8 as Void’s exclusive distributor in Malaysia,” commented Alex Skan, managing director at Void Acoustics. “Motifv8 has built an excellent reputation and we are confident that their team will drive Void’s solution out into this dynamic market.”
Orban has welcomed JAA Systems as its master distributor in Southeast Asia. The manufacturer said that the partnership marks a significant step in Orban’s strategy to enhance its Asia presence and provide audio processing solutions to clients across the region’s markets.
“We are proud to have JAA Systems expand their reach for the Orban brand beyond Malaysia,” said David Day, CEO of Orban. “With their team’s past success in growing other leading broadcast brands in Southeast Asia, South Korea and Japan, we believe this
LEA Professional has signed a distribution agreement with Victoria-based Snap One Australia, now part of ADI. The partnership will bring LEA’s catalogue of IT solutions, DSP and power management products to customers in Australia and New Zealand. Snap One delivers entertainment, connectivity, control and security solutions to residential and commercial end customers worldwide.
Our team is eager to leverage our expertise and nationwide reach to make Analog Way’s products accessible to businesses across sectors, supporting them with top-notch service and innovation.”
Ravi Mishra, director of Ösel Devices, continued: “By combining Analog Way’s cutting-edge products with our extensive distribution network, we aim to redefine standards in the Indian AV and digital signage market, empowering businesses with robust, innovative display solutions.”
www.analogway.com www.oseltech.com
partnered with Motifv8; they have an excellent knowledge of Void and have produced stunning work in the region.”
Nubert Aneel Lawrence, general manager at Motifv8, added: “We are incredibly excited and proud to be Void Acoustics’ official distributor for Malaysia. Motifv8 has always championed Void’s expansive range of high-quality speakers and we can’t wait to see how these sound systems will thrive with the growing demand for them in Malaysia.”
www.motifv8.com www.voidacoustics.com
“Snap One is committed to providing more products and services, shopping convenience, local support and expertise, and more investment in innovation,” said Adam Merlino, vice president and general manager APAC, Snap
partnership will significantly contribute to Orban meeting its growth goals.”
David Chan, president of JAA Systems, commented: “We are thrilled to represent the Orban brand in the Southeast Asia, South Korea and Japan markets. Our established relationships and deep understanding of the region’s broadcasting needs position us well to introduce Orban’s innovative solutions to new customers.”
www.jaasys.com www.orban.com
One/ADI Global Distribution. “Adding LEA aligns with our business goals to provide customers with enhanced offerings.”
“Our partnership with Snap One opens up a significant opportunity for more customers
worldwide to access our technology,” added Scott Robbins, VP of sales at LEA Professional. “Australia and New Zealand remain top of our mind and we are excited to collaborate with a distributor that can help these customers access our technology.”
www.leaprofessional.com www.snapone.com
Sennheiser has appointed Concept Systems Technologies (CST) as its preferred sales partner for the new Spectera Wireless Multichannel Audio System (WMAS) in Singapore. Founded over 20 years ago, the Singapore-based L-Acoustics distributor continues to forge a strong reputation in the entertainment, hospitality and house of worship sectors. CST’s favourable relationships with live production companies, broadcasters and large churches places the company in a strong position to promote the Spectera platform.
“We are extremely happy to appoint Concept Systems as our preferred partner for Spectera in Singapore,” commented Sennheiser Electronic Asia’s sales director, Roland Lim. “We have worked together with Concept Systems Technologies on numerous projects over the years and
they have proven to be very reliable and competent. Making them the ideal partner for Spectera, their team has a very strong network which is well connected with
leading venues, performing arts
dedicated Spectera preferred partners in
City Music, a provider of audio technology solutions and musical instruments, will take over distribution for PreSonus products in Singapore. The partnership aims to bring the manufacturer’s products closer to the region’s growing community of musicians, audio engineers and content creators.
Through the alliance, City Music will offer PreSonus’s entire portfolio, including audio interfaces, digital mixers, recording software, monitors and accessories, throughout its own store and resellers across Singapore. The distributor said that it is committed to providing audio technology that enables creativity and elevates audio production standards.
the region. “We are currently assessing the technical expertise and market suitability of our current distributors in Southeast Asia,” furthered Lim.
“This truly is a game changing technology,” explained CST projects and sales director, Gerald Fong. “Our customers appreciate the fact that the beltpack is both a wireless microphone transmitter and an IEM receiver and the oneunit height receiver that can host up to 32 wireless channels will save them a lot of rack space. Everything about Spectera, including the antennas and the intuitive software, has been designed from the ground up. Demonstrating such a groundbreaking technology with so many outstanding features is a privilege.”
www.concept-systems.com.sg www.sennheiser.com
“We are honoured to partner with PreSonus as their sole distributor in Singapore and are excited to bring their extensive range of products to local retailers, studios, venues and content creators,” commented Hoe Hsin Loong, marketing director of City Music.
PreSonus said that the agreement underscores its dedication to expanding its presence in the ever-changing audio landscape and serving customers with enhanced accessibility, local support and technical expertise.
www.citymusic.com.sg www.presonus.com
• MICHAEL PHIPPS
• PRESIDENT AND COO
CHRISTIE
• JAN EVELEENS
• CEO OF PRODUCT DIVISION
RIEDEL COMMUNICATIONS
cost-effectiveness and successful system rollout.
“I am honoured to join the Lightware team and play a pivotal role in both expansion and sales goals in the region,” said Chng.
• VANESSA WALMSLEY
• COO
VIZRT
• VICE PRESIDENT OF SALES AND MARKETING
WOHLER TECHNOLOGIES
“I look forward to connecting with customers and partners, supporting the team through expert guidance through technical consulting and being an advisor for Lightware products. The Southeast Asia region already has a lot of exciting technological
Siow remarked: “We are excited to welcome Aidan Chng to Lightware. He brings invaluable expert understanding of AV system design as well as exceptional consultative skills. This appointment aligns seamlessly with Lightware’s dedication to expansion within the region and maintaining the best quality service and relationships with our customers and partners.”
www.lightware.com
growth. There are exciting times are in a period of rapid growth vital to maintain and maximise operation. I am very pleased to welcome Greg to the company; his experience will be of great benefit to us all going forward.”
M3 Pro Audio has appointed Ben Millson as a managing partner, overseeing the daily operations of the company. Previously, he assumed management positions at d&b audiotechnik and Adamson across APAC.
M3 was founded by live mixing engineer Alan Mathew alongside Sonos Libra founder Alfonso Martín. Millson, who was Adamson’s managing director for APAC at the time, served as the catalyst for M3’s inception. “Adamson needed a distributor in Singapore, so I brought Mathew and Martín, two trusted industry
friends, together to form M3, with the name representing the three ‘Ms’ involved in its formation.”
Following this, Millson continued his role at Adamson, before assuming an exclusive consulting position for a private investment fund for two months. “Towards the end of the role is when I felt I should consider stepping into M3 to take the driving seat,” explained Millson, who, up until now, wasn’t legally a shareholder or part of M3’s day-to-day operation. “I had turned down a number of senior positions for several large
• CEO
brands and saw M3 as an opportunity to build something for myself and my now partners. With M3 being the distributor for Adamson, this has been an easy transition in that respect.” Millson shares how he sees M3 expanding in the future: “We have just taken on distribution for Void Acoustics in Singapore and are in talks with other brands currently. There are also plans to expand our reach into the wider Asia Pacific region in the near future.”
www.m3proaudio.com
•
JAMES GALLAGHER-POWELL
CHIEF STRATEGY OFFICER
•
Richard Lawn sits down with RCF’s Arturo Vicari to hear about the Italian manufacturer’s growth plans following a recent round of investment
BALANCING SPREADSHEETS WITH A PASSION FOR ARTS and science has traditionally defined success in the pro audio industry. For over three-quarters of a century, RCF has passionately built an electroacoustic brand, but the last 21 years bear closer scrutiny. Having named the first, revered RCF pro audio speakers – the ART Series – after himself, CEO and visionary Arturo Vicari continues to lead the global Italian brand. From the jaws of chapter 11 in December 2003, Signor Vicari and his team are writing a new instalment.
Headquartered in Reggio Emilia, Italy, the group – which includes dBTechnologies, EAW and Montarbo in addition to RCF – reported a turnover of approximately €250m in 2023. Represented in more than 130 countries, RCF has approximately 600 employees and operates seven plants in Italy, Albania, the United States and Mexico.
The recent agreement by Global Sound Technologies Participations (Investindustrial) to invest in the RCF Group came as a surprise to many. Vicari is keen to highlight the fact that RCF wouldn’t have attracted a financial partner had the business not been in a position of strength. “Investindustrial only looks at a business if it’s in very good shape,” he explains. “However, I really want them to understand what we do; that we are in the business of creating emotion.”
With a particular focus on APAC, the Middle East and the US, Investindustrial aims to accelerate the RCF Group’s international expansion both organically and through acquisitions. Currently representing approximately 70% of its capital, Investindustrial has been a successful investor in niche manufacturing companies including Fassi (truck-mounted hydraulic cranes), Amalfi (private label food manufacturing platform), Ceme (precision fluid control solutions), CSM Ingredients (food ingredients technology), Guala Closures (high-end specialty closures for spirits and beverages) and Omnia Technologies (automation technologies for the beverage and pharmaceutical sectors).
happened because, after two years of being confined to small groups, people started to understand that they could not live in isolation anymore. Whether that is a concert or a football game, passion draws us together. At that point I understood that the RCF Group was in the right place at the right time, and growth was inevitable.”
In a bid to become a public listed company, the acquisitions of DPA Microphones, EAW and Montarbo prior to the pandemic could have proved fateful. But the group rode out the storm and ultimately prospered. “We sold DPA Microphones at a profit in 2022 and repaid the fund that had initially allowed us to purchase the Danish brand. When a company stops growing, it will die, but the RCF Group continues to grow. However, there are times when you need more money than you can make and that is when you need an investor, so the RCF Group signalled for funding to the investment bank, Gruppo Mediobanca.”
Having received multiple international enquiries, Vicari concluded that none were suitable: “We were looking for a partner beyond finance who would understand our direction in the export market. With our facilities located around the world, it is vital to be more self-sufficient in the manufacture of electronics should there be further market disruption. When we discussed our unique business to Investindustrial’s industrial advisory board chairman Andrea C Bonomi, he perfectly understood and reassured us that they are more than just a fund.”
Investindustrial’s long track record of successful investments in family-owned companies, industrial approach and global infrastructure were key factors in the partnership. Bonomi is widely regarded as an expert in finding the right entrepreneurial partners looking to elevate business to the next level of global expansion. “Known for its strong growth, tradition of quality, innovation and commitment to sustainability, I was drawn to the RCF Group as an Italian leader in the professional audio market,” comments Bonomi. “We are embarking on a growth project that focuses on consolidating RCF’s presence in its existing markets. Together, we share the same vision to make the RCF Group even stronger and the global leader in the professional audio market.”
The current RCF management team will play a key role in future development, with Vicari and Alfredo Macchiaverna continuing as chief executive officer and chairman of the board of directors, respectively. “Despite being represented in 130 countries worldwide, the RCF Group still has huge potential in APAC and Latin America,” furthers Vicari. The RCF Group has enjoyed significant growth in APAC over the last 21 years, working with key distributors. “The potential for APAC is that the region could become our largest market in the world. With Investindustrial, we will have access to their dedicated and ample resources to scout the market and get more information and required support.”
recalls Vicari looking back on 2020–21. “I was alone in our Reggio
dramatic demand largely generated by live concerts. “Business grew a lot more than forecast and, by late 2022, we received a huge backlog of unexpected orders. Something special had
Currently at the beginning of a policy strategy, the RCF Group aims to strengthen in all global regions. “We are in the business of creating emotions because this is the strength we bring to the world,” concludes Vicari. “Every day, working in this business brings me happiness, especially when I listen to our loudspeaker systems at a concert and witness the joy in people’s eyes. Our business is not simply about making money, because it strikes into the hearts of people. The added financial support we required is merely a tool to continue stimulating emotions.”
www.rcf.it
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Karan Nagpal
Karan Nagpal, director of Indian distributor Sonotone, talks to Bea Meikle about his journey training for and completing the mammoth Berlin Ironman
What does your role at Sonotone entail?
As a director of Sonotone, my role involves overseeing daily operations, coordinating with department heads for planning and reports, executing strategies and managing customer and vendor communications. I ensure productivity and goal alignment while fostering a collaborative environment, often staying late to reflect and prepare for the next day.
Congratulations on completing the Berlin Ironman! How did the competition go?
It was excellent! My finishing time was much quicker than my target, probably thanks to Berlin’s cold weather keeping my electrolytes in check. Compared to India’s hot weather, I felt fresher during the course. Although the water was 15° – too cold for comfort.
What motivated you to take part in the Ironman?
I’ve been an active sportsman since childhood and was a national gold medallist (under 13s) in swimming. As I grew older, I placed more of a focus on education which meant there was limited time for swimming and my physical fitness was running and going to the gym. I was completely disconnected from the sport until my son started swimming three years ago and to inspire him, I participated in his competition in the master’s categories. One practice session before a competition, I met the celebrity Saiyami Kher who revealed she was participating in the Berlin 70.3 Ironman, which is when I thought “if an actor has the time to do it, I can definitely attempt it”. Once the seed was planted, I never looked back and kept going.
What was the most challenging aspect of the triathlon?
Swimming wasn’t the concern and I have done half marathons in Mumbai in the past. The challenge was cycling – I neither owned a bike nor knew anything about this leg. Mumbai isn’t cycle friendly at all; the traffic is crazy and there is no space to walk safely, let alone cycle. Also, when diving down further into the costs of a road racing bike, it was 10 times what I expected due to my lack of awareness of the sport. On one of the trips to China for the GETshow, one of our suppliers who cycles regularly said I must attempt the triathlon and gave me his bicycle since the monsoon season was coming up and he had no use for a road bike for the next six months. I was hesitant at first, but he was kind enough to talk me through everything about it and then took me out to practise one day and dismantled it and gave it to me along with a trainer to mount it on and cycle at home.
What sort of training did you have to do in preparation?
The most vital part of this journey was information. I came in blind but now I have so much knowledge of the sport I am a changed person. A large part of training was educating myself about the calories expelled and replenishing them. The first time I rode on the bike I burnt 1,100 calories; aside from being elated at the high count I was also dizzy. That is when I started reading about how much sodium, potassium and magnesium is typically lost and the journey ahead was all about experimenting on how I feel with different quantities of electrolytes and what was working for my body. For the physical training, I followed a beginner programme over 20 weeks recommended by a friend who completed Ironman. The week included different drills for swimming, cycling
and running – some to build speed, some to build mileage. The weekend was brick workouts of two or all three to get into the flow. The challenge was work and holiday travel in between but abstaining from unhealthy food helped retain the fitness levels.
How did you fit the training around your daily working life in Mumbai?
I went to bed earlier and changed my alarm to 5:30am. Weekend parties turned into coffee meetups and cinema nights turned to short Netflix sessions. But the change was all worth it – there was something to look forward to every day, a new challenge, goal and training regime and I had my heart in it.
Why do you feel it is important to have an outlet such as this outside of work?
When you embark on something you have never done before, whether an Ironman or anything else, your perspective on nonmonetary matters changes. When you find something to put your heart and mind into, I believe the creative part of the brain is alive with energy and when you are brimming with life, you are happier in your relationships, work, sleep and all the problems that previously seemed mammoth now seem miniscule. Isn’t this the goal in life?
What advice would you give to someone who is embarking on a triathlon or similar physical challenge?
If you have any doubts or any hesitation about the idea of doing something new – that is a good thing, that’s when you know you must pursue it no matter what challenges lie ahead.
A continued surge in demand for highperformance audio continues to make its mark within Singapore’s entertainment venues. The latest, Red House Live, opened its doors in Suntec City recently to reveal an L-Acoustics loudspeaker system installed within its exclusive interior.
Following extensive evaluation, Red House Live’s technical support team requested a demonstration of the French brand’s line array and coaxial elements. After a successful demonstration of A15 and KS28 FOH elements, Singaporean distributor Concept Systems Technologies (CST) provided the system design before laying the cabling infrastructure in the ground-level venue.
Led by project and sales director Gerald Fong, CST focused on full, even coverage throughout the seated venue, with L-R hangs of three A15 array modules augmented by four floor-standing KS28 subwoofers. This main system is complemented by L-R arrays of dual A15 rear delays, X12 side fills and X8i front fills together with KS21 subwoofers. Designed with Soundvision software, a rack of LA4X and LA12X amplified controllers provide multichannel amplification and digital speaker processing.
The high-end specification of loudspeakers was demanded by joint owner, Roy Tan.
“L-Acoustics loudspeaker systems are best in class for theatre and music. Having listened to the demonstration, I was immediately convinced that our venue needed to make the investment. We’ve received very favourable comments from
our returning guests regarding the full-range quality of the audio. The designer and installer, Concept Systems Technologies, were extremely professional during the refit and fully understood our requirements.”
Audio quality was not the sole factor in the decision to specify L-Acoustics. “The servicing is excellent,” explained Tan.
“With CST, we have that 24/7 support. The installation was smooth and on schedule and we received full support including training, programming and commissioning.” Backed by musicians including a drummer, keyboardist, bassist and two guitarists, a group of nine Chinese singers revolve on a constant basis at Red House Live to maintain the high level of musical entertainment. The three sets, which are interspersed by a DJ, conclude at 2am with the venue closing an hour later, six nights per week.
For the Singapore-based distributor, the two-month fitout was akin to déjà vu following its works earlier in 2024 at Bugis Live Club, which follows a similar form of Chinese live entertainment. “Because Red House Live is located in Suntec City shopping mall, we had to comply with many safety regulations,” commented Fong. “However, Roy and his team were excellent and knew what they wanted from the start in terms of the sound they were after.”
www.concept-systems.com.sg www.l-acoustics.com
INFiLED has delivered an LED display solution for the FINAS ICVFX virtual production (VP) studio in Ampang Jaya. The project was created in collaboration with systems design and component integration company, Cedar Broadcast & Communications alongside audio
workflow for local content creators, FINAS decided to invest in an LED volume for its ICVFX VP studio. FINAS sought a solution to enhance immersive visual storytelling through a combination of ceiling-mounted, curved
“one of the largest ICVFX VP stages in Malaysia”, it is powered by technology from Disguise and Brompton Technology. FINAS is the National Film Development Corporation Malaysia, the governing body of the Malaysian film industry. To promote filmmaking in the region, FINAS provides support by acquiring filming equipment and establishing production facilities and studios while promoting the region’s film sector. ICVFX, a fundamental component of VP, enables visual effects to be integrated during filming rather than relying solely on postproduction. To facilitate the filming
deliver vibrant, lifelike visuals with seamless playback and consistent colour tones to create an engaging production environment.
INFiLED’s GX Series was selected for its ability to meet the demands of high-quality ICVFX VP. The series has been designed to be durable and lightweight and features a 1,000nit brightness and 160° wide viewing angle which is optimum for filming. Additionally, the GX panels feature adaptable cabinet sizes with curve adjustments of +10°, ideal for creating immersive curved backgrounds.
www.infiled.com
The Australian leg of Coldplay’s The Music of the Spheres tour recently hit stages in Sydney, Melbourne and Auckland, backed by a rig of Elation Proteus Brutus fixtures provided by Chameleon Touring Systems. Originally kicking off in March 2022, the world tour’s goal was to reduce the carbon footprint by 50% compared to Coldplay’s 2016–2017 tour, A Head Full of Dreams. Consequently, the entire lighting rig is now LED or laser-source.
Upstaging provided the bulk of the staging and lighting equipment for the Australian shows, with Chameleon supplying an array of moving head fixtures, some of which were new to the tour. In total, five trucks were used to transport Chameleon’s gear between the shows. The Australian dates marked the
Brutus fixtures, which it recently acquired from ULA Group.
Twenty-four of the Proteus Brutus luminaires were placed behind the band. Lighting director Shaheem Litchmore noted that the team usually have a different fixture, but he was keen to use the Proteus Brutus as their replacement. “I’d never heard of it until the Australian run, but I was asked if I wanted to try them and I was all for it,” he said. “They’re pretty great and really like rock star lights. They’re awesome. They’re very bright, powerful lights with a good edge. They’re exactly what we needed.”
Following the Australian tour, Chameleon shipped its Proteus Brutus fixtures, together with other lighting gear, to New Zealand to continue with the tour.
www.chameleon-touring.com.au
CHINA
Chinese distributor Real Music deployed a Void Acoustics Incubus sound system for the recent Vision & Colour Music Festival 2024 (VAC) at the Hengqin Chimelong Bay Hotel in Zhuhai. One of China’s largest and longestrunning electronic dance music festivals, the sixth installment of VAC took place over two days, headlined by international artists Swedish House Mafia, Martin Garrix and
Real Music, which was announced as Void’s distribution partner for the region earlier this year, integrated the Incubus series for the “side stage”, one of VAC’s three stages. The distributor said it chose the system for its “sound quality and distinctive aesthetics, in addition to its ability to handle high SPLs and deliver deep bass”. The project marked the first deployment of the Incubus series in the
The Incubus system comprises three different parts: the Air Array, Hyperfold and Incubus Sub. Real Music’s L-R setup included two Air Array loudspeakers either side of the stage, complemented by four Hyperfold cabinets, two on each side. The low end was covered by four Incubus Subs, with two also deployed per side.
loudspeakers were implemented in an L-R setup at the front of the stage. DJ monitoring was covered by two Air Vantage units mounted
atop two Stasys Xair subwoofers either side of the stage.
Fedrick Lu, Void Acoustics’ regional sales manager – APAC, commented on the festival’s audio design: “It is extremely important for the DJ to be able to create the right experience for the crowd, meaning the DJ monitors cannot be compromised. Therefore, Real Music decided to use a pair of Air Vantage tops with a pair of our most popular subwoofers, the Stasys Xair.
“Void Acoustics has been recognised and used by world-renowned DJs and world-class nightclubs around the world for their unique aesthetic, incredible performance and the flexibility of the customisation,” Lu continued.
“I’m personally pleased with our China distributor, Real Music – the team is made up of professional sound engineers who are highly capable and experienced with top-notch installations, large-scale concerts and festivals. Some of these engineers used to be DJs as well, which is a huge plus as they truly know how dance music should sound. I believe they’ve managed to present our Incubus system to its fullest potential. Also, I’m happy that our flagship system was debuted in VAC, China and I’m looking forward to more people in China being introduced to Void in the years to come.”
www.voidacoustics.com
ACT-848 / ACT-747
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7 preset groups with 224 pre-saved channels.
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New transmitters can be powered by two AA alkaline or a Li-ion battery and conveniently recharged via type-C.
Bangalore’s entertainment hub and fine dining venue Bellandur SOCIAL utilises Powersoft’s Mezzo, Duecanali and Quattrocanali amplifiers, alongside its Verso gateway device and MyUniverso cloud platform for monitoring. The solution serves as the heart of the venue’s sound system to deliver multizone audio for both background music and live sound.
Housed within an oval-shaped glass dome, Bellandur SOCIAL offers patrons fine dining during the day and a high-energy nightclub at night.
Headed by Riyaaz Amlani, the venue can accommodate 1,500 patrons across three floors and required an audio solution across multizones, including a FOH DJ area, VIP section and outdoor balconies. The system needed to be capable of meeting the technical rider standards from artists it regularly hosts.
“Powersoft was the ideal choice for this installation – the amplifiers’ versatility and high-performance capabilities perfectly matched the project’s diverse requirements, from space constraints to acoustic consistency,” said Utkarsh Naidu, audio consultant, Techflow.
“Powersoft eliminated the need for
extra equipment for an external DSP, reducing rack space requirements and significantly cutting down on power loads and heat dissipation.
“It was crucial to ensure consistent sound quality and distribution throughout the space and Powersoft played a key role in maintaining clear audio across all zones, catering to both dining and nightlife settings.”
Four Quattrocanali 1204 DSP+D, two Quattrocanali 4804 DSP+D, a Duecanali 4804 DSP+D and Duecanali 804 DSP+D, four Mezzo 604 AD and three WM
The 15th China International Aviation and Aerospace Exhibition (Airshow China) recently took place at the Zhuhai International Airshow Center. Reportedly Asia’s largest and most influential aerospace event, the airshow featured displays across aerospace,
Touch touchscreens are controlled remotely by Verso.
MyUniverso enables remote monitoring to ensure the audio system is performing with minimal downtime.
The amplifiers are paired with 20 DAS Audio ARTEC-306 and five ACTION-508 loudspeakers, two Q-10 and nine
ARTEC-S15 subwoofers, alongside four RCF NXL-44-44-4 loudspeakers and two RCF 8008 subwoofers. The integrator used one Dante AVIO adapter for audio routing, while Netgear GSM4230P and GSM4210PD AV line switches were implemented for network connectivity across the system.
The amplifiers and the Verso device are installed in an equipment rack in the venue’s basement. “This was the designated location for all backend equipment, which is why we decided to use a Dante workflow, considering the DJ location was about 65m away,” explained Naidu. The audio sources are distributed and controlled across all zones using the Dynamic Music Distribution solution.
“The modularity of Powersoft means expansion and upgrades can be easily managed as the venue evolves or new technology becomes available,” concluded Naidu.
“Furthermore, the remote management capability of Verso streamlined our operations, saving time and reducing the need for onsite visits. For the end user, Verso provides accessibility ensuring that the sound system remains adaptable to the venue’s needs.”
www.powersoft.com
Over 10 major media organisations –including CCTV, Xinhua News Agency and Sichuan Observer – partnered with TVU to deliver comprehensive coverage. The TVU One, equipped with HEVCformat VBR encoding and proprietary IS+ algorithm, provided reliable transmission, even in challenging environments.
Sichuan Observer combined the TVU One for high-quality video capture and the network aggregation capability of the TVU Router. This advanced setup leveraged the router’s ability to combine up to 12 network connections, providing 1,000Mbps bandwidth capacity and ensuring stable transmission even in densely crowded environments where network conditions are typically
The autumn skies over Zhuhai served as a canvas for a spectacular aviation display, where TVU’s technology ensured every moment was captured and shared with precision and clarity. Through professional-grade livestreaming, aviation enthusiasts worldwide were able to experience the excitement and grandeur of the premier aerospace event in real time. www.tvunetworks.com
For singer–songwriter Hikaru Utada’s tour of Japan and Asia, lighting designer Jeremy Lechterman of Fragment 9 utilised Ayrton’s MagicPanel 602 and MagicBlade R fixtures. The tour, in support of Utada’s album Science Fiction, also celebrated 25 years of the artist’s music with a monolithic production design.
Created by JAW studio’s Jason Ardizzone-West, the futuristic set’s 33.5m-wide alien landscape of sand dunes also incorporated nine video-tiled sculptural monoliths, inside of which Lechterman concealed 144 MagicBlade R in hidden rows. The lights were combined with Jackson Gallagher of Fragment 9’s video design to define and transform the visual language and composition of the stage throughout the concert.
“The Ayrton MagicBlade R is very effective in activating the ‘machines’ and helping to push the energy of the content out towards the audience,” explained Lechterman.
The lighting design incorporated a series of MagicPanel pods, populated with 56 MagicPanel 602 fixtures hung asymmetrically over the main stage. “I was trying to find an unobtrusive way to echo the asymmetric arrangement
terrain vertically when that felt appropriate,” noted Lechterman. “The resulting MagicPanel pods gave us that verticality, whilst also feeling ‘alien’ in a way that matched the rest of the design. The square nature
to as a designer. The ability to create these monolithic, rectangular looks is something you cannot do with any other fixture out there.”
The LD added that he has used the MagicBlade on various projects over the years. “We love how we can tuck them into places and then get these really beautiful, complex looks from them,” he noted. “Even though there are newer versions out there now, we found the Blade R to be plenty bright for what we needed on this show.”
of the fixture fitted well into the mechanistic landscape. If I could put Magic Panels on every show, I would. There’s something about the square form factor that I’m just really drawn
The Ayrton lights were supplied by Kyoritz. Lechterman was supported by lighting programmer Erin Anderson and associate designers Sydney Asselin and Alex Talbot.
www.ayrton.eu www.f9.live
INDIA
Martin Audio’s WPL system was deployed for Sufi artist Bismil (Mohd Asif)’s “Bismil ki Mehfil” performance at the Delhi Technological University (DTU). ShowTech’s expert engineers, alongside VMT’s dedicated technical support, integrated and managed the system.
During the event, Bismil performed his hit single Tere Bina and a cover of Nusrat Fateh Ali Khan’s Kali Kali Zulfon Ke Phande backed by the WPL line array system which provided coverage for the open-air venue.
Complementing this were SXH218 subwoofers for the low end. The system was powered by iK42 amplifiers.
“The audio system truly made all the difference at Bismil ki Mehfil,” said Tarvinder Singh, systems engineer, ShowTech. “The clarity, depth and precision it provided brought Bismil’s powerful vocals and the richness of Sufi music to life. The audience was fully engaged throughout the event, thanks to the exceptional sound quality. Our ongoing partnership with VMT has been instrumental in enhancing our ability to deliver top-tier experiences, allowing us to meet the high expectations of our clients.”
Dharam Koli, pre-design and sales engineer, VMT Enterprise, added: “Working on the sound system for this event was an absolute pleasure. The setup ensured crystal-clear sound,
ourselves on delivering solutions that exceed expectations and this event was a testament to that commitment.”
www.martin-audio.com www.vmt.in
FBT unveils two new VERTUS CLA point source models built in aluminium extrusion. The CLA 204T and the IP55 certified weather resistant CLA 203T that includes water resistant enclosure, water resistant treated loudspeakers, a grille with hydrophobic fabric and hermetic terminal box. These models are also EN 54-24 certified for emergency and evacuation systems, with a ceramic terminal block and thermal fuse ensuring protection for the line connection in case of fire. A range of accessories is available to enhance the product’s functionality.
AVAILABLE NOW
Situated in the heart of Pattaya, the luxury Icon nightclub has selected a DAS Audio system to power sound for regular performances by internationally acclaimed DJs and live acts. Renowned for offering a first-class experience to its guests, the sophisticated venue noted that it wanted a high-quality audio system to meet the high standards of the artists who visit the club. Due to the large scale of the venue, effective acoustic design was imperative to achieve professional sound quality and uniform coverage throughout the space.
Local distributor PSD Petchsiam Sound Group provided 18 EVENT-212A loudspeakers to cover the main stage area. The EVENT-212A incorporates digital signal processing with FIR filters, which results in a linear phase response for precise audio reproduction. The installation also incorporated six compact EVENT-26A, while low-frequency reinforcement
was provided by four EVENT-115A subwoofers and 10 UX-218A.
With the aim of achieving optimal sound quality throughout the club, 24 ACTION-515A
systems have been deployed throughout Icon, complemented by eight ACTION-118A, equipped with an 18-inch active subwoofer, to handle the club’s low-end demands. Lastly,
www.dasaudio.com
Hit Chinese singing competition show Singer 2024 recently returned for its final season after a four-year hiatus, with a DiGiCo Quantum 852 for the main stage console and two SD7 for broadcast and stage monitoring. The series adopted a live broadcast format to promote clean, unprocessed performances from the contestants. Throughout the competition all vocal performances were live and free from any postproduction editing or live vocal adjustments. Amassing over 230m views, Singer 2024 featured already established singers, with vocalists from across the US and Canada battling it out with Chinese talent for the grand prize. The result was a 12-episode cultural exchange with a global perspective to challenge the audience’s perception of what a “good” performance is.
“The singers come to the show representing different genres of music, which reflects the multiple aesthetics of the public nowadays,” said Hong Xiao, the show’s producer. “Everyone has their own preferences, so we invited singers from different fields. It takes strength to perform under these conditions and we searched hard for singers who could rise to that challenge.” The Quantum 852 was selected as it features dual power engines and power supplies, crucial for the show’s live format. The SD7 offered engineers in/out capabilities that were leveraged for broadcasting live to millions of viewers. For stage monitoring, the engineers relied upon the SD7’s option to expand further, with a DiGiCo SoundGrid adding to the channel count.
www.digico.biz
Reportedly the largest media art museum in Seoul and Gyeonggi Province, Museum HEI leverages Christie projectors and Pandoras Box software to power visual experiences for visitors. The museum, inspired by the Finnish greeting “Hei” (meaning “hello”), leads visitors through immersive media art installations.
Museum HEI’s current exhibition, Beautiful Moments in Life, showcases over 20 media art displays that highlight the beauty of nature and works by European painters. The project was made possible by Christie partners Star Networks and Creum, which both possess extensive experience in delivering large-scale projection mapping projects across various applications.
“We are thrilled to collaborate with Christie and Creum to deliver an extraordinary visual experience at Museum HEI,” said S W Ham, general manager, Star Networks. “Christie’s HS Series laser projectors and Pandoras Box have provided the perfect combination of brightness, colour accuracy and versatility to bring these immersive media art installations to life. It’s exciting to see how projection technology can transform a space and create unforgettable moments for visitors and we’re proud to be part of such an innovative project.”
The HEI Square gallery features four thematic displays – Flower Hill, Under the Sea, Great Fall and Cony’s Canvas – which are brought to life with six 4K22-HS laser projectors. The projectors showcase various visuals such as landscapes, underwater scenes and art imagery.
In the HEI Theater gallery, 15 D13WU2-HS laser projectors display imagery for Renoir’s Moment and The Nature thematic displays, where art and nature blend with radiant colours. The visuals in both thematic galleries are driven by Pandoras Box Software and Widget Designer.
“We’re witnessing a significant rise in the popularity of immersive experiences in museums across Korea, as visitors of all ages increasingly seek engaging ways to connect with art and culture,” noted Paul Lee, sales manager for Korea, Enterprise, Christie.
“Our HS Series projectors and Pandoras Box have emerged as the preferred solutions for these installations, delivering bright, colourful visuals in a compact form factor. We are proud to provide technology that enhances visitor experiences and sets new standards in digital art and entertainment.”
www.christiedigital.com www.starnetworks.co.kr
New York-based digital out-of-home (DOOH) consultancy Tiger Party has completed its first project in Asia with the Taipei Lumitree, an installation located near Taipei 101. Developed in collaboration with Kaiyue Construction and operated by Tiger Party, the project has been nominated for the Digital Signage Awards 2025 in the
the cityscape and bring new experiences to the public.”
Rafale Chang, CEO, Tiger Party, said: “We are pleased to introduce technology and commercial ideas from Times Square to Taiwan. By working with Taiwan’s creative talent, we aim to develop a visual installation that draws attention to Taipei.”
Spanning 254m2, the Taipei Lumitree includes a 360° LED tree and a 10m-high LED wall. The installation uses P2.9 LED technology and transparent panels with a transparency rate of over 75%. Designed to create an engaging visual environment, the Lumitree encourages interaction through its combination of light and sound.
Steven Lin, chairman of Kaiyue Construction, commented: “Taipei Lumitree changes urban spaces and offers a platform for creative engagement. Events like Nuit Blanche Taipei have shown how this venue can contribute to
community of artists founded by Randi Zuckerberg and Debbie Soon. To celebrate the opening of the Taipei Lumitree, 12 artists from around the world were featured, establishing the venue as a platform for international artistic work.
“HUG seeks to create opportunities for earlycareer artists,” said Randi Zuckerberg, founder and CEO, HUG. “Working with Tiger Party to bring new art and artists to a location like Taipei is an important step in encouraging creativity.”
www.thetigerparty.com
STAGENET // THE DATA- & ORCHESTRATION PLATFORM
From small installations to the largest audioand video-projects in the world: With Stagenet, you can simply drag and drop a wide variety of devices to Connect, Organize, and Monitor, without reconfiguration!
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Li Duo, head of the sound department, leads audio postproduction. Her role encompasses sound editing and project coordination as well as handling mixing duties when necessary. “For the convenience of postproduction mixing and recording articulation, we can now hear the ‘full’ sound in any production session. It can be said that each of our studios has the infrastructure to carry out any type of film sound post work, which may seem like a luxury, but it saves time and increases efficiency.”
HeGuang Studio, a key player in China’s film postproduction market, recently installed Genelec immersive monitoring systems for its dialogue and sound editing suites. Constructed by Beijing-based As One Production, the studio decided to invest in new systems to enable it to handle more comprehensive postproduction processes and achieve a more unified output standard.
Mixing engineer Wang Chong discovered sonic flaws in past productions while reviewing films
at home on high-quality monitors. “These flaws were due to equipment limitations at the time,” he said. “I realised that if I want my work to be broadcast 20 years from now with excellent sound quality, I must use the highest possible technical standards.”
Li Xiaopan, director of HeGuang Studios, explained why they chose Genelec Smart Active Monitoring systems for the project: “They improve our working environment and enable us to confirm both sound and picture quality at
the same time, which is crucial for projects on tight deadlines. The consistent performance of Genelec systems, praised for their ‘stable curve’ by many professional audio engineers, influenced our decision after extensive research.”
Xiaopan added that the team aims to maintain a unified sound playback standard throughout the entire process. “Our dialogue and sound editing studios are designed to ‘go higher’ and match the quality of the pre-mix and final mixing stages.”
Unlimited Worship has implemented Waves eMo IEM immersive in-ear mixing software for its eMotion LV1 Live Mixers. The Jakarta-based ministry is part of a broader initiative to enhance worship through music and production in Indonesian churches, through training in various music disciplines, organising conferences and fostering community engagement.
The decision to upgrade to the eMo IEM software was made by the ministry’s FOH and monitor engineer, Yedidyah Yehezkiel. Designed specifically for the eMotion LV1 live mixer, the Waves software provides immersive 360° panning for in-ear mixing without the need for any external hardware.
“My overall experience using the eMo IEM at the show was incredibly satisfying for everyone involved, including performers, sound engineers and systems integrators,” noted Yehezkiel. “The 360 panner is fantastic. It provides performers with more space to hear themselves, simplifies the sound engineer’s positioning tasks and integrates seamlessly since it is built into the eMotion LV1.”
Yehezkiel said that he finds the software easier to use compared to other solutions and that its consistent user interface enables engineers and performers to get up
to speed quickly. “The common complaints I often hear about other immersive IEM processors are virtually nonexistent with this plugin,” he confirmed. “The eMo IEM
exactly where they are needed. This efficiency significantly reduces the time spent determining how performers want their mixes arranged.”
enables precise pinpointing and localisation of sounds within the performer’s auditory space, making it easy to position elements
He also cited the software’s built-in integration as particularly intriguing from his perspective as a systems integrator and sound engineer:
The facility features three 7.1.4 rooms. The Premix Studio includes S360s for L-C-R, 8340s for surround and height channels and a 7380 subwoofer, while the Home Studio has deployed 8350s for L-C-R, 8340s in the surround and height positions, complemented by a 7370 subwoofer. Lastly, the Dolby Vision Home Certified Studio, used for colour grading, features 8330s for L-C-R, 8320s for surrounds and overheads and a 7360 subwoofer. Additionally, the three Edit Studios are equipped with 7.1.2 systems variously featuring 8340 and 8330 monitors, plus 7360 subwoofers. All rooms have been configured and calibrated using GLM software.
Shaoquan Li, head of equipment and technical management at HeGuang Studios, said: “In the technical field, we look for ‘high efficiency’ and ‘no need to ask for help’. With GLM, we can calibrate the monitors ourselves in less than 15 minutes, without needing a professional technician. Additionally, all the setup data is visible in the software, which is very reassuring.”
www.genelec.com
“It’s all contained within the LV1, eliminating the need for separate setups between the immersive IEM device and the console. There’s no hassle with network settings between the two devices, making the overall experience very straightforward – just plug and play.”
The engineer noted the eMo IEM’s 360° panning provides greater “headroom” in the mix, resulting in a clearer sound experience for the performer. “From an engineer’s perspective, the flexibility to pan from any point of contact –whether it’s the LV1 application, MyMON, or MyFOH – is incredible,” said Yehezkiel. “The consistent interface across all applications makes it much easier for engineers to make adjustments on the fly. This capability also opens up new possibilities for broadcast mixes using the LV1, allowing for surround panning like never before.
“For performers, the ability to position instruments and voices in a three-dimensional space around their heads is a game-changer, moving beyond the traditional left-right imaginary line. They can emphasise specific instruments they want to focus on while positioning less desired sounds behind them, resulting in a more immersive and personalised listening experience.”
Minimal dimensions with the power of a giant. The new NXL 14-A is the most compact active speaker in the professional NXL series. It features two 6” woofers in a symmetrical configuration and the new 1.75” Precision Transducers PKX driver loaded on a rotatable TRW waveguide, all powered by a 2,100W two-channel amplifier with FiRPHASE and Bass Motion Control processing. Available in black or white finish, the NXL 14-A is designed to deliver definition, power, and portability in any live application. Perfect for vocal reproduction, ideal in compact live systems paired with SUB series subwoofers, in immersive applications, or as a fill speaker.
rcf.it
#ExperienceRCF
Ideal Systems has provided design, supply, installation, testing and commissioning of an NDI video production and streaming system for Singapore Polytechnic. The system will be used by students in the Diploma in Integrated Events and Project Management (DEPM) programme as part of the module that focuses on live and hybrid events.
Singapore Polytechnic, established in 1954, is the first and oldest polytechnic in Singapore. The DEPM programme trains students in real-life projects, with opportunities to create, plan and execute live events in collaboration with industry partners. With the new system, students will have hands-on experience in the NDI video production studio, working with the latest advanced technology in collaborative projects. The solution is also used for Singapore Polytechnic events.
The brain of the system is the Vizrt TriCaster 2 Elite, serving as an IP-based live production system that merges live video switching, broadcast graphics, virtual sets, special effects, audio mixing, recording, social media publishing and web streaming. It automatically detects video formats and resolutions up to 4KP60. It supports Skype, MS Teams, Zoom Meetings, Slack and
wireless routers and an AJA Bridge for SRT-NDI gateway integration. The system is complemented by an LED lighting fixture with adjustable colour temperature and a sound system with multichannel audio processing capabilities.
The project faced challenges, such as echoing in the room. The Ideal Systems team addressed this by installing acoustic panels, doors and fire-rated acoustic curtains to eliminate the echo.
The solution also includes Panasonic professional camcorders, BirdDog PTZ cameras for NDI low-latency streaming and remotecontrol, Yamaha mixers with Dante audio networking, Sennheiser wireless microphone systems, NDI-enabled NETGEAR network switches, PERLE SRT 4G/5G
Mr Ong, lecturer for the DEPM programme, Singapore Polytechnic, explained: “One of the key areas of focus is teaching students live and hybrid events, which involves onsite activities while broadcasting to viewers. This upgrade allows us to stream events from up to six locations, combining them into one livestream for the viewers. The system will be used for various events, including dinners and dances, product launches and symposiums.”
www.idealsys.com
Analog Way’s Aquilon RS4 drove the LED screens for the fourth headlining tour by Chinese–Hong Kong recording artist Gloria Tang, professionally known as G.E.M.
With its high-capacity 4K inputs and outputs, a single Aquilon RS4 can manage the extensive 4K I/Os and expansive pixel area, eliminating the need for multiple machines.
replaced two or three similar products
The Aquilon RS4 drives LED screens for G.E.M.’s world tour
worldwide, with the current tour the first to be produced by the artist’s own production team.
The Aquilon RS4 live presentation system and RC400T event controller are being used to drive the large pixel space of the onstage LED screen and switch the main and backup playback servers. It has been deployed in 18 cities for over 50 shows, including a stop in Changzhou where temperatures soared to 48ºC.
The system was selected for its capability to display multiple types of content across numerous 4K layers.
we previously used, making the setup much faster and far easier to travel with,” commented Calvin Au, technical director. “We look forward to working with Analog Way in other countries outside of China.”
For the first few shows, Analog Way provided an onsite engineer to support the team and ensure the operator and VJ gained a thorough understanding of the system. Afterward, the operator and VJ managed all the shows independently.
www.analogway.com
Nestled in the heart of Ubud, Bali, luxury restaurant and day club Cretya Ubud features a Peavey and Crest Audio solution, installed by Vilon Group Bali (VGB). The venue offers three-tiered azure pools and daily DJ performances set amongst the serene landscapes of Tegalalang.
Cretya Ubud wanted a new sound system to enhance the overall atmosphere and cater to its diverse range of visitors. VGB managed the sound installation and also upgraded the lights and video, adding matrix LED tubes around the hanging DJ booth and a set of party lights.
For the main bar, the MS 280 line array speakers provide sound coverage for both lively daytime gatherings and evening DJ sets. These are complemented by the Crest Audio CA 218 Pro subwoofers for low-end reinforcement. For the outdoor pool area, Peavey’s weather-resistant Impulse 5C and 8C speakers have been installed to provide
audio coverage that withstands Bali’s tropical climate. These are powered by Crest Audio Pro-Lite amplifiers.
“The Impulse C speakers through the three bars, two restaurants and upper pool decks, constantly exposed to rain and pool splash, have performed as expected,” said Dean Morris, founder of VGB. “The main system hanging under the DJ turret is the Crest Audio Versarray array. This combo – powered by lightweight Pro-Lite power amps – has worked exceptionally well with longer-running events and larger crowds throughout the season.”
The venue’s operations manager, IGN Agung Mertha Suniantara, said: “The highquality sound performance has created an immersive environment that complements the natural beauty and vibrant energy of our venue. Our guests have responded positively, noting how the audio adds to their enjoyment. It’s been instrumental in setting the tone for various events, elevating the ambience and
ensuring that both casual visitors and event attendees feel fully engaged.”
Akshay Vaidya, MD, Peavey Asia Pacific, remarked: “We are delighted to have been chosen by VGB and Cretya for this multidimensional project. We are really
MUSHANG has launched its VFX Lab Sydney which features a ROE Visual LED solution powered by Brompton Technology processing. Claiming to be the largest permanent VP studio in Sydney, the facility is based on MUSHANG’s XR stage in Shanghai which also incorporates both brands’ products. The Sydney location places a distinct emphasis on VP, providing technical and equipment support to production teams and creators needing VP solutions. The LED setup, featuring ROE’s 18m x 4.5m curved BP2V2 panels for the main wall and CB5 MK2 panels for the ceiling, is calibrated with Brompton’s Hydra measurement system and is Brompton HDR-ready. With a near-8K resolution, the display is driven by two 4K Tessera SX40 processors, a Tessera S8 and five Tessera XD 10G distribution units. Since its opening, the studio has already completed two commercial projects, both of which utilised Brompton’s Tessera feature set, including HFR+ (High Frame Rate).
In addition, various technologies from brands like Disguise, Stype and MRMC Bolt systems were integrated into the studio to create a VP ecosystem. MUSHANG’s VFX Lab supports a wide range of creative visual productions, from feature films and broadcasts to commercials and episodic content.
Henry Sha, MUSHANG’s founder, commented: “Our choice for ROE Visual was a no-brainer; the company has established itself as the go-to brand in virtual production technology. Due to Brompton’s stability and reliability, it was an obvious choice for us when designing the VFX Lab. This golden combination of Brompton Technology, ROE Visual, Disguise, Stype and MRMC Bolt has been instrumental in countless projects and we’re confident it will continue to drive our success for many more years to come.”
www.bromptontech.com www.mushang.com.au www.roevisual.com
Event production company Stage Core provided a d&b audiotechnik sound system for the 2024 Dhiraagu Maldives Road Race (DMRR). Bringing together over 4,000 runners and spectators in Central Park, the race marked Stage Core’s fifth collaboration with Dhiraagu, a telecommunications company in the Maldives.
Stage Core’s dedicated team of expert engineers, led by Abdulla Jinan, planned and executed the loudspeaker deployment using d&b ArrayCalc software. The aim of the audio design was to ensure that every runner and spectator felt the heart-pounding energy of the event, with an immersive soundscape that reached each corner of Central Park. The setup included a main PA system and strategically placed delay towers and side fills throughout the track, all powered by d&b systems. Jinan and his team tackled unique challenges, such as managing temperature, human body heat and limited space, all while preserving the integrity of the client’s branding elements around the start–finish tower.
happy with the end result as we mixed and matched the ideal solution across both the Peavey and Crest Audio brands.”
www.peavey.com
www.vgroup.ltd
The main PA system incorporated six V8 loudspeakers distributed throughout the track on either side as tops and out fill, with eight B22 subwoofers also placed along the track to cover the low end. Rear fill was courtesy of four V12 loudspeakers, complemented by four V-SUB. For the first delay tower, Stage Core installed four V8 and V-SUB each while the second tower utilised four V8. Amplification was courtesy of six D80 amplifiers, while R1 Remote Control Software provided control over the PA system.
“Achieving this level of sound quality was no small feat,” said Ahmed Haisham, CEO of Stage Core. “Our team’s dedication, combined with the advanced capabilities of d&b audiotechnik, allowed us to deliver a flawless auditory experience. We are deeply grateful to Dhiraagu for trusting us with their largest event of the year and look forward to bringing even more events to new heights.”
www.dbaudio.com
www.stagecore.com
CHINA
The 3,000m2 DND CLUB has opened in Maoming with an immersive KV2 Audio VHD5 system to enhance China’s nightlife scene. The product of a US$7.7m investment, DND CLUB’s mission goes beyond conventional clubbing; the space aims to provide an unforgettable, highenergy environment where patrons can truly feel the music.
“Our goal was to create an atmosphere where every beat and every note feels alive,” said Peter Chen from YueShun Entertainment Company, the club’s investors. “We needed a system that could deliver not just volume, but clarity, even at peak energy levels.”
The setup includes two VHD5.0 mid-hi loudspeakers powered by dedicated VHD5000 amplifiers, a pair of VHD8.10 low-mid loudspeakers and an array of 40 ESD1.18 subwoofers strategically placed around the main bar hall.
“From day one, we knew the audio system had to be exceptional,” explained Alexander Wong, KV2’s clubs market manager in China. “This configuration provides the depth and intensity needed for a club of this scale. The VHD5 system fills every corner of the 3,000m2 venue with precision, making every performance feel intimate and powerful.”
The DND team chose the VHD5 system following a visit to the Wuhan FOREVER Club, where they first encountered the system’s capabilities. After a six-month build, the venue opened with the audio system, thanks to precise design and the expertise of KV2’s audio engineers.
“Building a venue of this magnitude and achieving such refined sound quality was challenging but incredibly rewarding,” added Wong. “The configuration is the first of its kind in Maoming and one of the most ambitious setups for KV2 in a club environment.”
In addition to the main hall, the venue features five private rooms, each equipped with ESD12 loudspeakers and ESD1.18 subwoofers. These intimate spaces provide a personalised experience for guests who want a more private setting.
According to the DND team, the system’s performance aligns with their vision for the club as a transformative nightlife experience,
blending technology and design into an environment where sound becomes part of the experience. “For artists, the audio clarity allows for true creative expression,” confirmed Chen. “For guests, it’s about the quality of the experience. They don’t just hear the music –they feel it.”
JAK AV has installed a videowall solution, integrated with Nexo sound and control systems, in St Andrews Christian College’s multipurpose hall. Located in the Wantirna South suburb of Melbourne, the school implemented the solution to enhance the atmosphere during sporting events and expand presentation capabilities for other activities held in the venue.
Following a detailed assessment of the venue and its acoustics, the integration team of Hallambased JAK AV installed a total of 60 LED screen modules, forming a 5m x 3m (WxH) videowall.
The audio solution incorporates left and right front-of-screen hangs comprising Nexo’s P15 point source loudspeakers and L18 subs, rigged using the PNI-P15TOL18 P15 under L18 sub rigging system. Another two P15 cabinets were deployed to the left and right sides of the main hangs to cover the far sides
of the gymnasium. Powering the system is the manufacturer’s 4x2,500W NXAMP4X2MK2 amplifiers.
According to Group Technologies Australia, which supplied the system, the new solution performed well in the post-install demonstration and test run. Furthermore, the ecosystem created by JAK AV, supported with professional controls, has provided St Andrews’ AV staff, teachers, students and visitors with a solution that can elevate AV content, engage audiences and enhance various events.
www.grouptechnologies.com.au www.jakav.com.au www.nexo-sa.com
Tachikawa’s Cinema City has recently implemented
Allen & Heath’s AHM-64 matrix processor as the core speaker management system for its k studio in Cinema One. Having opened in 1994 as Tokyo’s first multiplex cinema and THX-certified theatre, the space now offers premium sound and premium explosive sound screenings.
The 175-seat k studio is renowned for its lively acoustics.
“The unique shape and materials of k studio create an incredible sound, which has garnered it a dedicated fan base,” said Koji Amemiya, head of Cinema City’s projection department. As the theatre frequently hosts special events like stage greetings, it required a flexible and highperforming audio system to manage complex sound configurations with precision.
The previous speaker management system was showing its age with a lower sampling rate and dynamic range. The new AHM-64 manages the 7+1 channel output from the cinema processor, utilising the system’s 64x64 processing matrix and 12x12 local I/O to distribute audio to each speaker in the room.
The installation was carried out by BE FREE. “Because of the nature of cinema operations, all equipment replacement must be completed during overnight hours,” explained Koji Iwashita of BE FREE, who played a key role in the equipment selection and installation process. “Then, from the day after the equipment is replaced, operations resume with the new equipment. Because the same movie was played, I was able to very clearly hear the difference in the sound.”
Cinema City has also implemented an Allen & Heath IP8 remote controller for added convenience, allowing staff to adjust settings such as microphone levels for live events via a simple fader control.
“I’ve worked with Allen & Heath digital mixers like the GLD and dLive before and I was consistently impressed by their sound quality, user interface and low latency,” contined Iwashita. “When it came to renovating Cinema City’s audio system, I knew the AHM-64 had the potential to deliver exceptional results.”
“The AHM-64 offered more inputs and outputs than other models, which was crucial for
the maintenance and inspection needs of a cinema,” noted Amemiya, who expressed interest in mastering the System Manager software for even more advanced applications.
“The interface is intuitive and easy to use. We’re excited about the potential to configure Dolby Atmos with the AHM-64, bringing the next generation of immersive audio to our audience.”
www.allen-heath.com
A Nexo and Yamaha sound system has been installed in a new medium-sized, multipurpose hall in the 2,196-seat Toyama City Arts and Culture Hall (Aubade Hall). The Aubade Hall opened in 1996 with an acoustic design created primarily with opera performances in mind. The new hall has been completed at the same site with a maximum of 652 seats which, along with the stage, can be moved to enable a wide range of configurations.
Loudspeakers from Nexo’s GEO M, P+ and ID Series were selected to create a flexible sound system. “We have been using Nexo speakers in the large hall for a long time,” commented Akira Sone, head of the stage technical department, sound, at Aubade Hall. “We are familiar with the sound of Nexo and thought that it would suit the medium hall as well.”
GEO M10 Series line arrays are used for the proscenium speakers and moveable side speakers. “The GEO M10 has a good balance of size and power, making it suitable for use in a medium-sized hall,” Sone continued. “We compared it with several other models and the GEO M10 was the perfect match. We particularly focused on its ease of handling and size and its great advantages include sufficient volume and ease of installation and movement.”
P12, P10 and P8 speakers have been introduced as portable utility speakers. When there is no space on the stage for side speakers, the audio team can pull the sound
image downward by placing a P12 on a stand on the stage in addition to the proscenium speaker.
“We wanted to be consistent, but we had used the ID24 for the wall and auxiliary speakers and the P8 for the ceiling speakers in the past and we were satisfied with the sound quality, so we chose Nexo speakers overall,” added Sone. “Another reason is that the main hall is also Nexo, so there is a backup element to it.”
The Yamah team oversaw the stage sound equipment installation and adjusted the speakers in a system that also includes Yamaha CL5 and CL3 digital consoles and Nexo NXAMPMk2 Powered TD Controllers.
“On this occasion, we deliberately asked them to leave us some room to adjust it,” concluded Sone. “The shape of the stage and the audience seats change in the middle hall, so we were conscious of being flexible and free to adapt to those changes. I think that if the work being performed changes, the ‘best thing’ that people expect will also change. This is due to how we are involved in the work and our relationship with the outside operator. As a hall, I think our job is to discuss questions like, ‘what kind of sound do you want? How do you want it to sound?’ and then provide ‘the best thing’.”
www.nexo-sa.com
www.yamaha.com/2/proaudio
Lighting designer Damien Cooper has specified Martin Lighting’s MAC Aura PXL wash lights for Sydney Dance Company’s momenta, Rafael Bonachela’s newest fulllength work. The event initially premiered at the Roslyn Packer Theatre in the Walsh Bay Arts Precinct, before travelling around the country.
a variable speed chain motor system on it through Simple Motion that allowed us to vary the speed, height and angle of the truss.”
This allowed the MAC Aura PXLs to be positioned anywhere from just off the deck up to 18m, depending on the venue. Primarily the lighting pod is a backlight structure and it’s heavily assisted by a Harlequin high-shine
“In terms of collaborative input, the highlight is the lighting from Damien Cooper,” said Michelle Potter from Dance Australia. “It is mostly dark, although the colour of that darkness is not always the black we might have expected. As the work progresses, there are hints of dark green, sudden flashes of red, a burst of white cloud, at times a sudden brightness and at others a mysterious hazy quality. The lighting design is enhanced by the constant presence of a circular rig of 19 spotlights that moves up, down and around in the performing space and limits, at times, where the dancers can gather.”
Cooper started his design with the idea of a lighting structure that could change height and positioning throughout the performance.
“I decided to make that the only light source, in a sense,” he commented. “I tried to work out how many lights I could compress into the smallest amount of space and that was a 3m circle truss with 19 Martin MAC Aura PXLs as close together as we could get them. We put
floor which allows the light to bounce out of the floor and onto the dancers.
Cooper admits that he doesn’t use the pixel effects much at all, but was excited to use the MAC Aura PXLs for the production. “I simply like that they’re a good bright wash workhorse,” he said. “We were doing lots of narrow beam work. They go down very tight and are made beautifully, like all Martin gear. They’re compact which is great – we all want bright, but we want it small as well.”
Complementing Cooper’s lighting was the special smoke effect where he created a cloud in the middle of the space with a couple of Look Solutions Vipers. “It took a lot of R&D to get the correct smoke temperature,” he explained. “We put a chilling system in to cool the smoke so it floats in the space at exactly the right height as smoke can be so variable to climate, temperature, humidity and Barometric pressure.”
www.martin.com
Rightway Audio Consultants (RAC) has supplied LightAct media servers for Chinese pop artist Zhang Bichen’s 2024 concert tour. RAC used the media servers to bring complex and interactive visual content to life, most of it designed in Notch. With integrated NDI 5 streaming, the combined AV system supported smooth, high-definition video content delivery, while Blacktrax tracking technology fed realtime positional data into the LightAct servers, creating interactive visuals that followed Bichen’s movements onstage.
The manufacturer’s reActor xr media server formed the heart of the production. “It is really
like this one,” said Zengxin Liu, lead LightAct programmer at RAC. “LightAct’s versatility and performance were crucial in getting this project off the ground.”
“This project exemplifies our commitment to delivering advanced, flexible and above all reliable technology for large-scale productions,” said a LightAct spokesperson. “Through collaborations like this, LightAct continues to empower RAC and other partners in the live event industry to create amazing live experiences.”
www.lightact.com
www.racpro.net
“X-pect the X-traordinary”. The platform features a flexible architecture that supports various types of projects and allows users to customize audio I/O strips in a modular way.
Dante and analogue I/O, and it can be expanded with additional BIO-X8 units to increase the number of inputs and outputs. Control VIVO-X8 from EclerCLOUD.
The Long Sunset music and culture festival, part of the QLD Music Trails series, featured event production by EventCo, which engaged Onesol Productions to supply VuePix Infiled screens for the main stage. Returning to the Scenic Rim region recently, the Queensland festival showcased performances by iconic Australian artists, as well as offering festivalgoers yoga classes, workshops, marketplace stalls and local food and wine. At the very front of the lineup were artists Matt Corby and Angie McMahon, joined by New Zealand’s soul-electronic collective, LEISURE alongside indie rock outfit Eliza & the Delusionals,
award-winning singer–songwriter Emma Donovan, rising indie star Lyric, futuresoul superstar Ngaiire and indie folk artists Sons of the East.
Two large-format VuePix Infiled AR series screens with a 3.9mm pixel pitch – both 6m x 4m (HxL) – were set up on each side of the main stage as IMAG screens. Brompton Technology’s Tessera SX40 processors and Tessera SD distribution units were used to power the screens with content enhancing the festival experience for all The Long Sunset fans. www.ulagroup.com www.vuepix.com
Director Hiroshi Okuyama’s latest film, My Sunshine, was shot with Blackmagic’s Pocket Cinema Camera 4K digital film camera. The film depicts the growth of Takuya, a young boy who struggles with ice hockey, and was officially selected for the “Un Certain Regard” section at the 77th annual Cannes Film Festival.
Okuyama took on the roles of director, cinematographer, screenwriter and editor. The grading was handled by colourist Saki Yokota of IMAGICA Entertainment Media Service who used DaVinci Resolve Studio editing, colour grading, visual effects and audio postproduction software in conjunction with DaVinci Resolve Advanced Panel.
subject is something that could only be done with an exceptionally skilled crew.
“I’m the type who likes to shoot long takes. While shooting the skating scenes, the crew had to stay out of the shot, so with no one stopping me, I often kept the camera rolling for over 30 minutes. The Pocket Cinema Camera 4K was light, easy to shoot with and blended well with footage from other cameras, allowing me to achieve the film look I was aiming for.”
As the film is set around the year 2001, DaVinci Resolve Studio was used in
The director used a Pocket Cinema Camera 4K for the skating scenes, gliding alongside the actors. “At first, I tested shooting with another camera mounted on a stabiliser, but it was difficult to shoot,” he said. “We also tried shooting while pulling the camera on a sled, but it just couldn’t keep up with the actors’ movements. In the end, the combination of the stabiliser and the Pocket Cinema Camera 4K, with me skating while shooting, worked best.”
He added that the most challenging part of the shooting was focusing. “Since the camera was capturing a 360° view, we had to use wireless technology to remotely adjust the focus. Adjusting the focus by looking at a monitor while not being able to visually gauge the distance between the camera and the
used filters on set. Yokota emphasised the softness of the highlight of the images.” Yokota used the grain material that Okuyama created and overlaid it in Resolve. “The director had a clear vision for the look he wanted, so I built on that base look and refined it,” commented Yokota. “Since this film is meant for theatrical release, I graded it on the big screen. The impression on the big screen is different from what you see on a monitor, so I adjusted those aspects to enhance the quality. The most memorable scene is the one by the lake. The scene beautifully captures the changing tones and brightness unique to each moment. I worked with Okuyama to create the colours for each cut and it resulted in a very rich scene.”
www.blackmagicdesign.com
Hai Phong’s newly established Administrative and Political Centre has implemented an HH Audio system, designed, supplied and installed by DL Pro Company. Recently completed at a cost equivalent to US$107m, the centre’s two basement levels and nine above-ground floors house the Municipal Party Committee and People’s Council, as well as the offices of government departments and judicial agencies. The centre’s Main Theatre, which is used for a wide range of presentations and events, as well as its conference room, have been equipped with new audio systems. The theatre solution comprises four TNA-2051 speakers and two TNA1200S 12-inch passive subwoofers flown per side, with a further two TNA-2051s as centre fills on the stage and a single TNA-1800S 18-
In the smaller conference room, DL Pro installed a main front of house system comprising a single TRE-1501 15-inch full-range active loudspeaker and a TRS-1800 18-inch active subwoofer per side, supplemented by several wall-mounted TRE-1201 12-inch active speakers as side fills.
“DL Pro are doing fantastic work in Vietnam with our systems across a variety of applications,” said Ian Wright, global sales director for HH Electronics. “We’re very proud that HH Audio was chosen for this particularly prestigious setting. Projects of this type invariably demand high-quality audio from a very competitive package, something that the TNA line array was developed to provide.”
www.hhaudio.com
Radio New Zealand (RNZ) has implemented Lawo mc²36 MKII audio consoles, associated I/O devices and Arista switch fabric for its recording locations at Auckland’s Town Hall and Wellington’s Michael Fowler Centre. The solutions were installed by Professional Audio & Television (PAT) following a rigorous tender process that included A/B testing and careful evaluation of various console manufacturers.
The broadcaster sought a robust, futureproof system to support its role as a producer of high-quality recordings and live broadcasts. One of the primary goals for the project was to identify a solution capable of delivering high audio quality across the entire signal chain, from stage connectivity and preamplification to digital encoding, processing and final recording for production. The setup comprises a pair of 32-fader mc²36 MKII consoles, one for each location, equipped with Lawo A__stage64, A__mic8
and Power Core devices, which serve as I/O extensions. The Power Cores also serve as MADI and Dante converters, providing RNZ with a networked audio infrastructure that supports the latest in AoIP technology. To enable these systems to scale with RNZ’s future requirements, PAT will also configure and install a set of Arista 710P compact, fanless, cognitive PoE switches into both locations. These Arista switches will be responsible for the transport of SMPTE 2110-30 low-latency audio on the red and blue ST 2022-7 redundant media networks.
“We are thrilled to partner with RNZ on this pivotal project,” said Mike Heard, senior solutions architect of professional audio and television. “The Lawo mc²36 MKII consoles and accompanying I/O extensions provide RNZ with an advanced, modular platform that supports their commitment to producing live recordings of the highest quality. We are confident that this technology will play a vital
role in RNZ’s continued success as a leading broadcaster.”
Jamie Annan, operations manager at RNZ, said: “We are looking forward to installing these new Lawo consoles at our live recording venues, enabling our audio engineers to continue to deliver the high quality RNZ listeners expect. This upgrade will allow us to significantly increase the number and types of audio sources, providing our audiences with a rich audio experience.”
During the selection process, RNZ assessed each system’s audio fidelity, intuitive operation and flexibility to adapt to the fast-paced demands of live recording environments. The mc²36 MKII consoles were chosen for their compatibility with technologies like AES67, MADI and Dante, enabling connection between legacy systems and new digital workflows.
www.lawo.com
www.proaudiotv.com.au
Absen recently installed an LED screen for Chinese Fortune 500 company Xingfa Group’s command centre, which measures approximately 1,200m2 and is reportedly the world’s largest indoor small-pitch large screen. The manufacturer customised an intelligent display and control system for the group using integrated display
and location information, while enabling information resource sharing, business decisionmaking and command and scheduling.
The use of the manufacturer’s NX1.8 product required not only technical accuracy but also advanced management and control during the project implementation, with Absen’s
Absen’s large LED screen promotes Xingfa Group’s digital upgrade
and control solutions, aiming to enhance production management, support informed decision-making and promote the integration of industry business and digital technology.
Spanning an area equivalent to three standard basketball courts, the command centre screen contains more than 300 million pixels. It has been designed to intuitively, efficiently and comprehensively display a wide range of data, icons, images
engineering team providing their expertise and rigour to regulate the flatness of the entire screen to within 3mm. According to Absen, the project truly embodies the “showing the whole picture on one screen” concept, providing great support for the visualisation and management of daily production and operation at the Xingfa Group’s command and control centre.
www.absen.com
Renowned Taiwanese singer–songwriter Tayu Lo’s Spring Dragon Symphony Night Concert recently graced the Guangzhou Sun Yat-sen Memorial Hall, featuring a Verity Audio system. Touring across various theatres and concert halls in Shanghai, Hangzhou, Chongqing and Chengdu, the tour featured 17 performers and Lo to form the “Spring Dragon Opera” who played the artist’s classic songs with Eastern and Western acoustic instruments.
Established in 1931, the 5,729-seat Sun Yat-sen Memorial Hall is a landmark building in Guangzhou and a national cultural historic protection venue. Due to
vocals and musical instruments, so it was challenging for the high-frequency clarity of the sound system. “Symphony is the most challenging type of music for the quality of speakers,” confirmed Liyang. “There are a variety of Chinese instruments such as flutes and dulcimers in the concert. The sound of so many instruments must be diffused just right without being too loud, which places very high demands on the speakers. If the resolution is not good, the sound will be blurred.”
The main system comprises four V2 3-way line arrays either side of the stage, stacked on top of two VS28B
this, there are many restrictions on the placement of the sound system at the venue, plus the space’s round dome and glass windows can easily create various reflections.
Guangzhou HaoNa Audio Equipment provided Verity Audio’s latest V2 line arrays for the project. “As the Sun Yat-sen Memorial Hall is a cultural relic preservation venue, the locations of the speakers are strictly limited,” said Zhang Liyang, technical manager, HaoNa. “The natural reflection of the venue brings big challenges to the high frequencies, so the angle of the speakers must be calculated very accurately. As the latest product of Verity Audio, V2 has a long highfrequency transmission distance and accurate coverage, which can effectively cover the second-floor audience area.”
As Spring Dragon Symphony Night Concert is a symphony concert, it is mainly based on a large number of
subs. Ten P10 were implemented at the front of the stage as front fill for the first three rows of audience seats. The system was driven by the manufacturer’s V4.25 amplifiers. The PA console was a DiGiCo SD10, while the monitor was a DiGiCo SD5 Quantum console.
Verity Audio has been working closely with HaoNa to make several modifications to the design of the V2. “HaoNa has always had a lot of requirements for the sound quality of the performance,” said Igor, chief engineer of system installation, Verity Audio. “This is our first 3-way line array, which also means that we are entering the rental market, because the 3-way system is currently the standard for this market. HaoNa has given us a lot of suggestions and feedback. After trying different driver combinations, we finally got a result that they were satisfied with.”
www.verityaudio.fr
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Norwegian DJ and record producer Alan Walker recently performed at the Sunburn Arena stage at the Shillong International Centre for Performing Arts & Culture in Mawkasiang, to a crowd of over 10,000 attendees. A collaborative effort between Envision, Spacebound and BookMyShow, the concert marked a significant moment in the Indian leg of Walker’s WalkerWorld global tour, with Shillong being the first of 10 stops across the country. Walker delighted fans with some of his most famous hits and was joined by the Shillong Chamber Choir to perform his latest track, Children of the Sun Technical solutions provider KG Movie was tasked with creating an immersive experience that would elevate the concert. The company deployed a d&b audiotechnik loudspeaker rig of 24 KSL line array speakers as the main PA solution, complemented by 20 SL-GSUB subwoofers placed at the front of the stage. To supplement the main KSL system, d&b V-Series line arrays were also used for out fill reinforcement.
“Deploying the KSL as the main house system and the V-Series as the fill reinforcement allowed us to ensure that even those audience
members seated at the venue’s extreme sides received the same clarity and consistency in sound as those in the central audience area,” explained Joyjeet Pandey, KG Movie’s system engineer. “By leveraging the voicing consistency of the KSL and V-Series systems, our team
the main monitoring solution. A DiGiCo SD10 digital mixing console was deployed at FOH, complete with external expansion racks.
KG Movie employed an extensive array of Absen’s 3.9mm outdoor LED videowalls for the across the stage. The lighting design included 36 of LBT’s HULK BSW units, 24 Moving PYXIS Atomic Hybrid Strobes, 24 LED moving heads, 24 Orbiter LED washes, 70 Striker and ZoomBlade LED battens and multiple units of Striker and Super Striker LED PARs, all controlled by an MA Lighting grandMA 3 full-size console. KG Movie also deployed a grandMA 2 full-size console as
“Alan Walker’s Shillong concert was not only a testament to the power of music but also a showcase of production excellence,” added Manoj Singh, director and CEO, KG Movie. “Every aspect of the event was designed to create an unforgettable experience – and words cannot describe how proud we are to have played an integral part of this fabulous concert experience. We’d like to extend our sincerest thanks to the fantastic team of Envision, Spacebound and BookMyShow – who trusted us with the responsibility of bringing their ambitious vision to life.”
www.kgmovie.in
Industry veteran Thomas Rulyanto has recently founded Smart System Indonesia (SSI), carving a niche in Jakarta’s loudspeaker design business as evidenced by the stylish AM Lounge | Ambrosia.
Located on the second level of Elysee SCBD in south Jakarta, the new AM Lounge features a spacious island bar blending exclusivity and intimacy, with a DJ setup comprising four
Pioneer CDJ 3000 decks and dual DJM-A9 mixers adding vibrancy. From Monday to Wednesday, AM Lounge hosts live bands, with the Thursday-to-Saturday slots filled by international DJs.
“I’ve worked long enough in the entertainment industry to appreciate what venue owners desire,” explained Rulyanto. “It helps that I installed the audio system in the previous AM
Lounge in a different location.” A Void Acoustics loudspeaker system was chosen for the old venue and the owners insisted on the brand’s polished red enclosures for their new space.
The DJ monitors are a pair of Airten V3 dual 10-inch speakers and the dancefloor is catered for by the eye-catching Trimotion system. Lower frequencies are augmented by L-R floor-mounted Stasys X V2 while the remainder
of the venue has a distributed audio system comprising six Cyclone 10 cabinets and two Stasys 118 subwoofers.
Racked amplifiers in the control room include dual Bias D1 (for DJ monitors and Cyclone 10s), Q2 (for the Cyclone 10), Q3 (Trimotion) and Q5 (for subwoofers). In addition to storing and recalling DSP settings, a Yamaha MTX5-D matrix processor provides signal distribution to the other rooms. Two ARX NetSplit splitters separate the Dante and analogue signals in the network. A Midas M32 console and a Shure SVX4 wireless microphone system are leveraged for live band performances.
Twinned with the AM Lounge, Ambrosia combines a downstairs cigar bar with a private upstairs bar and VIP lounge. Four L-Acoustics 5XT cabinets powered by an LA4X 4x1,000W amplified controller combine with two RCF 18-inch subwoofers to provide zoned music. A Turbosound system serves the VIP lounge for fine dining and karaoke, with Yamaha ceiling speakers in peripheral areas including the toilets and corridor.
“The Trimotion speakers combine with the Cyclones and together they perform like a single voiced system. Void speakers are easy to control and, despite the proximity when the band is playing, there is no feedback,” added Rulyanto.
Challenged by glazing on one side of AM Lounge together with the varied 2.7m- to 6m-high ceiling, Rulyanto was pleasantly surprised with the outcome: “Void speakers are very precise and can be steered wherever you need to direct them. You hardly need to EQ these speakers. The results surpassed the owner’s expectations.”
www.voidacoustics.com
Funktion-One’s Vero VX is a highly efficient, sonically engaging live event sound system that is very easy to handle.
Its advanced array rigging system, including the award-winning VX M-Beam, ensures fast and accurate deployment. Vero VX delivers full bodied audio with unprecedented dynamic range, dimension and fidelity for next level audience experiences.
Richard Lawn visits a newly opened space at Sydney’s Canterbury Bulldogs HQ which has been repurposed to host tribute bands
NOSTALGIC ENTERTAINMENT IS ALIVE AND KICKING among the increasingly grey-haired population of Sydney’s southwestern suburbs. As such, tribute acts mimicking ABBA, the Beatles, Fleetwood Mac, the Rolling Stones and others show no signs of dissipating. To cater for this growing demand, established venues – including old picture houses – are being reconstructed and refurbished.
Reopened earlier this year in the extensive Australian Rugby League Club headquarters of the Canterbury Bulldogs, the Showroom exemplifies this rising trend. Capable of seating between 430 and 468 patrons, the Showroom is currently being used for entertainment including live bands, comedy nights, weddings and grand final functions. Having closed its doors as a movie theatre in the 1960s before operating as a disco during the 1980s and 1990s, this huge space existed for many years as an unused cement box storage area under a tin roof.
Off the field of play, the Bulldogs management team recognised the fact that the extensive entertainment complex lacked a jewel in the crown. Considerable building work was conducted before refurbishment. With just one structural pillar disturbing the audience view at stage right, the multifunctional space required powerful yet flexible audio, lighting and visual systems.
Working closely with Craig Jones from Global Projects (NSW) and Lyndal Sardelic’s team from Altis Architecture, electrical consultant Haron Robson was contracted to assist in the Showroom’s rejuvenation. Boasting extensive entertainment technology references, AV Matters’ consulting engineer Mal Barnes was drafted to the site. “The tender cited a good price-performance speaker system, and I focused my attention on four very good brands, including Martin Audio,” explains Barnes.
Martin Audio’s Display 3 modelling software was deployed to simulate a Wavefront WPM mini line array configuration, and Barnes was impressed with the full range and consistent dispersion characteristics he was presented with. The Showroom’s multifunctional audio requirements are taken care of by Martin Audio Wavefront WPM speakers. In addition to the dual 6.5-inch LF woofers, three 1.4-inch HF drivers coupled to the horn throat of a short waveguide provide 100° horizontal constant directivity coverage. Weighing 14kg, the deceptively compact enclosure is capable of producing 130dB peak SPL.
“As the WPMs are designed for optimum coverage, the Showroom does not require a distributed audio system,” Barnes continues. The system design consists of L-R hangs of six WPM passive line array elements. Low-frequency enhancement down to 45Hz (–3dB) is fulfilled by dual 15-inch SX215 subwoofers suspended behind each L-R WPM array. The foldback system comprises dBTechnologies coaxial FMX15 and Opera 2-way 15-inch powered monitors.
The floating stage is fixed off the back wall on a steel structure. As such, no subwoofers could be placed underneath, which led to them being flown. Canterbury League Club general manager of sales and marketing, Greg Bygraves, was impressed by the results. “These low frequencies are more than enough, and the audio detail and fidelity are incredible. However, our patrons wanted a little more punch at floor level to encourage the audience to dance. We can easily plug in two portable subwoofers by the sides of the stage for higher-SPL functions such as concerts.”
The WPM enclosures are powered by two QSC CX-Q 8K8 8-channel amplifiers racked in the rear AV room, while two Martin Audio SXF115 subwoofers flown behind the line array elements receive 5,000W per channel from a single CX-Q 8K4 amplifier. Signal management is handled by a Q-SYS Core 8 Flex processor.
For major shows and functions, the audio system is operated by veteran audio engineer Russell Grigg. Two decades on since the engineer was asked by a friend to fill in as temporary weekend cover, he has continued to preside over the mixing boards for Canterbury League Club. The pies must be good. Having mixed on the control surface of an Allen & Heath Qu-32, he requested that this board also be installed into the Showroom. In addition to its motorised faders, digitally controlled preamps and intuitive 7-inch touchscreen, Grigg was impressed by the Qu-32’s ability to provide a total recall
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of settings, while iPad support via the iOS Qu-Pad control app sealed the deal.
“I’m an old school mixing engineer, and the digital Allen & Heath console is analogue-friendly,” explains Grigg. “As I won’t be working here forever, the Showroom needed an audio console that could be easily adopted by whoever comes in next. I love British desks and this one features a flexible setup, with the stageracks, including eight inputs for the drum kit and eight for the vocals. With groups, everything needs to come to me quickly because, in addition to front of house and monitor mixing, I’m also operating the stage lights.”
Located in a rear wall recess adjacent to the extensive bar area, known as the “open sound box”, the Qu-32 connects to the onstage AR2412 24-in/12-out AudioRack via an etherCON dSnake. The powered monitors receive their individual outputs from a dedicated stage left AR84 expander AudioRack. Microphone inputs to the AR2412, including Shure Beta 57 and Beta 58 handheld models, transmit to Shure ULXD2 2-channel receivers. Wireless coverage throughout the venue is assured by two ceilingfixed UA874-WB active directional antennas.
Suspended from the ceiling to the left and right of the stage, dual LED displays provide HD visuals. Measuring 3.6m x 2.025m (WxH), both 1.5mm pixel pitch framed LEDs are composed of 36 individual Leyard MG015 panels. Providing multiscreen management for centralised control, a Novastar H5 video splicing processor transmits the same or separate images onto each of the LED screens. Sources include an MATV (master antenna television) system via a set-top box, a multimedia player and two Q-SYS NC-20x60 PTZ cameras. The modular plugin component configuration
A wireless touchscreen app extends control to smartphone and iPad devices via Wi-Fi.
The adjacent terrace is distinguished by floor-to-ceiling windows offering a view of the club’s external waterfall and volcano feature. Equipped with a private bar, the 150-capacity room serves as a backdrop for any event. Located in the bar, a second touchscreen controller allows independent operation of the adjacent foyer and pre-function terrace in addition to combined configuration when the zone is used as an extension to the Showroom. The pages on this touchscreen include audio input and volume control in addition to video control of two Panasonic 5,400-lumen LCD video projectors and 1,345mm x 2,155mm motorised screens. As in the Showroom, Visionary Duet encoders and decoders have been installed to enable presentations, and four Samsung portrait 32-inch LED displays fitted with Vitec m9505 decoders have been selected for signage and broadcasting.
includes five HDMI 2.0 input cards, 16 Ethernet outputs and twin optical ports.
Laptop presentations can be sourced to the visual outputs of the room courtesy of Visionary Duet encoders and decoders installed in the downstage floor trap. Designed to operate with third-party control drivers and capable of auto discovering all endpoints on the network, the wall plates enable 4K UHD video and Dante/AES67 control, together with Bluetooth audio connectivity and pairing. Similarly, rackmounted Vitec m9505 decoders and 3803 encoders with a multimedia player integrate the LED screen with the club’s distributed video system. The stage lighting system comprises three lighting bars. Together with two 7.2m fixed bars over the stage, another 7.2m motorised bar provides flexibility at the front. Ease-of-use lighting control is provided by an 80-channel ETC ColorSource lighting console with 40 channel/playback faders. Lighting includes 12 ETC ColorSource LED, Luxeon Z Par and Luxeon Rebel spot fixtures in addition to 12 Robe Par LED spots. When Grigg is not present, a simplified setup for smaller functions, including a console preset for using two wireless microphones, allows the system to be operated by staff. Located in the open sound box, a Q-SYS 10-inch touchscreen controlling the parameters of the audio, video and lighting is mirrored on the wall-mounted touchscreen behind the Showroom bar. Video controls include a master volume fader, a video page with output selection to the left and right LED screens and input selection from the HDMI input to the set-top box, a multimedia player or two ceiling-mounted PTZ cameras.
Powered by a single 1U half-rack QSC SPA2-60 amplifier, eight 6.5-inch low-profile ceiling speakers convey announcements on the pre-function foyer terrace. Enhancing the low frequencies for BGM, four wall-mounted QSC AD-S8T enclosures facing towards the bar provide ample room coverage courtesy of their individual 105° conical DMT patterns. A Q-SYS Core 8 Flex processor provides bidirectional 64x64 networked audio channels to the Showroom over the Q-LAN/AES67 network. A Williams AV Wi-Fibased assistive listening system (ALS) comprises six chargeable Pro Wi-Fi receivers with touchscreens that can be coupled to either headphones or neck loops.
According to Grigg, staff from neighbouring venues are also being serenaded by the audio quality emitting from the Showroom. “My colleagues love coming here and listening to the music, with some demanding upgrades now for their venues,” he says. “In terms of bang-for-buck, nothing in the market compares to the Martin Audio WPMs. The deceptive power that such a compact cabinet can produce in addition to their excellent vertical and horizontal pattern control puts the Showroom in another league.”
With the Showroom staff convinced their club’s new audio system has taken them to the top of the leader board, the Bulldogs will be looking to ensure their performances on the pitch also extend up the league.
www.bulldogs.com.au
www.haronrobson.com.au www.martin-audio.com www.tag.com.au
Richard Lawn visits a Bangkok club with USPs including five tons of recycled orange plastic and truly bespoke audio systems
WHEN I-MAGIC’S SETH B LANGER ARRIVED AT A FUTURISTIC
new venue in Bangkok to install two of the rooms with distinctive audio systems, the industry veteran believed he was more than familiar with every loudspeaker cabinet on the market. Or so he thought. Several months later, Langer would exit the same address to ringing praise from his client, having added two new speaker systems to his repertoire.
A high degree of originality is required if an entertainment venue is to stand out from its peers and competitors. Having acquired a relatively small, ground-level space in Bangkok’s Thonglor district, owner Barom Bhicharnchitr assembled a team of highly respected yet unique partners and collaborators to conceptualise and create a conspicuous venue. The dining venue and nightclub certainly attracts customers’ attention with its bright orange furniture and fixtures made from five tons of recycled Thai plastic waste. For audiophiles, however, the collaborative loudspeaker system jointly developed by Brooklyn-based OJAS and Norwegian studio sound developers NNNN makes the visit to 148 Thong Lo a memorable one.
The venue’s name – the Siwilai Radical Club – has set out its underlying mission by adapting the Thai word for civilisation. Used in this context, it translates to progress, borne out by the host of advanced features incorporated in the venue. Combining its expertise and flair with waste solution group More and Indonesian architectural firm Sidarta and Sandjaja, Space Available Studio has made a vivid impact. Highly regarded for designing sustainable solutions, the design studio has focused on creating a highly visual interior décor. The distinctive washed-out orange colour scheme is a throwback to the radical 1960s’ and 1970s’ discotheques, when plastic materials in vibrant colours were in vogue in the region. The recycled orange plastic is woven artistically throughout the space, which is divided into two distinct venues. The dining area serves house-roasted coffee specialties, signature breakfast sandwiches, international brunches and new age Thai cuisine. On Tuesday and Thursday evenings this
weekends, operates as an overflow area for the adjacent nightclub, which supplies it with an audio feed.
Decked out in the same recycled orange, the open chequered dancefloor of the nightclub is crowned overhead with a huge mirror ball. To the left and right of the DJ decks, ON4 audio stacks envelop the intimate room with clear, high-fidelity audio. Jointly conceived by OJAS and NNNN, the unique ON Series resulted from a chance encounter between NNNN CTO Rune Skramstad and OJAS founder Devon Turnbull at the 2021 European Triode Festival. Quickly discovering their shared passion for horn speakers, the duo looked at ways of collaborating.
The opening of a new store for streetwear clothing brand Supreme at the old Tower Records building in West Hollywood proved to be the catalyst. For this project, Turnbull requested NNNN to design a custom version of its Devor 30 horn-loaded subwoofer to accompany his Altec-inspired speakers. This cemented the relationship so, when New York club Public Records began work on
bass horn in the middle, one of the smaller ON form factors appealed to Bhicharnchitr, who commissioned Langer to oversee the audio design for the Radical Siwilai Club. Langer boasts a glowing list of Thai hospitality venues stretching over three decades. The US expatriate, however, was unaware of the specified loudspeaker system, and requested preliminary information on the ON loudspeakers.
“The original enclosures specified by Barom Bhicharnchitr were the smaller ON7 dual 12-inch models with rear fills,” he recalls. “I recommended that the room should employ the larger ON4 4-way active speaker system, but without fills, as the club space only has a capacity for around 100 people. Although the ON4 retains the same coaxial drive wide dispersion multicell as the ON7, it incorporates a larger Devor 23 dual 15-inch subwoofer and a frontloaded bass horn with a 12-inch driver.”
Designed with large overlap ranges to facilitate seamless system integration, the ON4 club system achieves optimised dedicated ranges within each bandwidth, as Langer testifies. “The coaxial compression driver ensures the super tweeter experience is coherent with the midrange and the listeners benefit from a point source experience,” he says. “The bass horn, meanwhile, moves a lot of air from 23Hz so, even at lower listening levels, the sound energy experienced is almost four times as intense as a similar-sized 35Hz system playing at the same level. The bass and low-mid excel in the kick region.”
Suitably convinced, Bhicharnchitr approved the upgrade. The i-Magic team set up and tuned the components before playing a mixture of musical genres. “Once set up, the soundfield emitting from the two stacks during a classical recording was so crisp that you could hear each instrument sitting in a particular location with a discernible tone,” he says. “The double 15s sounded phenomenal, with abundant energy emitting from a relatively small enclosure.”
Racked behind the DJ booth, two Powersoft Quattrocanali 8804 DSP amplifiers power both ON4 stacks, with processing presets available in ArmoníaPlus Suite. Monitoring is from Quest Audio QSA200i active loudspeakers, and in-house and guest DJs play their sets on a Pioneer DJM-V10 DJ mixer connected to three CDJ-3000 multimedia players.
Owing to the compact size of the club, Langer opted not to conduct any predictive modelling. “The design was purely based on my experience of such spaces: how the room was going to be utilised and the fact that it was going to output an enormous amount of sub-bass frequencies,” he explains. “We applied full acoustic treatment throughout the room including 50mm dampening material sandwiched between the walls and ceiling. The perforated recycled material that is a design feature of the entire venue also acts an acoustic element.”
Having correctly assembled and tuned the largely anonymous, yet bespoke, ON4 speaker system in the nightclub, i-Magic faced
day dining, the venue runs DJ events on two nights of the week and
consisting of three wall-mounted d&b audiotechnik E8 8-inch point source loudspeakers and a single E15X-SUB subwoofer discreetly recessed into the décor.
The four d&b audiotechnik enclosures are powered by a half-rack 5D amplifier, while a dedicated Powersoft Quattrocanali 2404 DSP amplifier provides sufficient headroom for the 3-way JBL monitors, which are bi-amplified through an Allen & Heath AHM-32 32x32 audio matrix processor. With two of the four Quattrocanali amp channels dedicated to each wall-mounted monitor, Langer could tune the high frequencies which are separated by an internal enclosure from the dual 15- and single 12-inch low-frequency components.
“I had a problem researching the details I needed for correctly installing and tuning the 4-way JBL 4350 speakers,” explains Langer. “It was difficult locating the technical specification sheets on these monitors because they date back to a time when no digital files exist. Fortunately, there is a dedicated industry of users and audiophiles who continue to refurbish old JBL speakers. It was tricky as I had to tune the JBL 4350Bs to complement the E8 enclosures and the single 15-inch subwoofer. However, it is an interesting setup, with the d&b outputs covering the seated areas and the JBL monitors handling the bar seats.”
The combined rooms can stream audio bilaterally from one to the other depending on the location of the source. With varied entertainment being staged every night, a flexible yet simplified form of audio management control is vital, and this is where the Allen & Heath AHM-32 comes in. Tasked with planning the electronics and zoning, Langer had to ensure that the AHM-32 was equipped with sufficient channels. “It’s not only the number of inputs across the two rooms because, on the output side, we are also running both sets of DJ monitors through the AHM-32 for equalisation in addition to compressing and limiting for the DJs,” he says.
As with the room predictions, Langer has developed a sixth sense as to what operations a venue will need to conduct, as well as how the equipment will be operated. “That includes the type of audience, the music that will be played and what their target market is,” he discloses. “You need to know how they’re going to use and abuse the equipment. In doing so, you provide the best advice for the venue by preventing problems that may occur during the first two years.”
Retro speakers, technical sheets that are unavailable on the internet and personal experience that cannot be Googled. Who said analogue was dead?
www.allen-heath.com
www.dbaudio.com
www.jblpro.com
www.nnnn.no
www.ojas.nyc
Caroline Moss visits the LBSIM management institute which has transitioned to an AVoIP setup to continue lessons disrupted during Covid and enhance future teaching methods
NAMED AFTER INDIA’S THIRD PRIME MINISTER (1964–66), the Lal Bahadur Shastri Institute of Management (LBSIM) has been providing education in management and information technology studies since 1995. The institute started life in a modest building in New Delhi before moving to a campus in Dwarka. Today, this is equipped with an auditorium, a library spanning two floors and an open-air theatre along with lecture halls, classrooms, computer centre and Bloomberg lab. When Covid hit, LBSIM – like educational institutes the world over – had to reconsider its options going forward, so it could adapt to a new way of teaching and extend lessons and presentations across the entire campus. The institute’s management team, headed up by chief administration office Colonel Ajay Sood, turned to Delhi-based Hi-Tech Audio and Image, which had initially installed the audio systems when the institute moved to its current premises in 2011. One of India’s leading pro AV and lighting distributors, the company worked closely with consultant Indranath Basu, founder of Inba Architecture and Acoustics, to design and integrate an AVoIP network for LBSIM.
As part of the upgrade, the auditorium was refurbished and fitted with acoustic panelling by Basu. The tender called for provision of acoustic simulation, which the Hi-Tech team conducted in EASE, demonstrating that the RCF components it put forward for the job were capable of covering every seat in the auditorium. Accordingly, an L-R system consisting of four RCF HDL 20-A active line array speakers per side was installed in tandem with a pair of SUB 8006-AS active subwoofers for the low frequencies, with two compact M 08 speakers powered by an RCF IPS 2.5K 2-channel amplifier providing front fill. Onstage, a pair of ST 15-SMA II speakers handle monitoring duties.
As part of the renovation, the auditorium was also equipped with extra seating on the balcony, bringing the total capacity to 313. A new control room for audio and lighting management now also operates from the balcony. At front of house is a DiGiCo S21 console connected by a single Cat6 cable to a Stage 48 system comprising three A168 Stage racks providing 48 mic inputs and 24 outputs via a DMI-A3232 card. A pair of RCF Ayra Pro5 speakers have been chosen for control room monitoring; a second pair have also been installed backstage in the green room. A Sennheiser Evolution wireless microphone system has been provided throughout the auditorium,
mics and an EW-D ASA antenna splitter.
An Infonics 5.8m x 3m videowall takes pride of place onstage, while Samsung LED monitors have been installed in the control room, green room, VIP room and balcony. The AV setup is completed by four Lumens VC-A53 PTZ cameras with switcher, recorder and joystick, a Crestron matrix switcher with analogue and digital audio routing and wallplate auto switcher on the podium, Crestron HDR transmitters and receivers and a Crestron AirMedia AM-3000-WF wireless presentation controller. A technical team of around 10 people worked onsite to create conduits and lay Klotz cabling for the new systems. The biggest challenge for Hi-Tech was the timeline, which allowed just over two months for installation before the new term began. “This was a bit of a task but, with the cooperation of the customer working together with our team at Hi-Tech, we managed this,” says Nirdosh Aggarwal, managing director at Hi-Tech, whose team also provided training on the new audio equipment for the in-house technical staff. “The customer was satisfied, and when the new term started and the students came back, they were surprised and delighted to see what had been installed.” According to Sood, the new system has really enhanced interactions between the students and lecturers. “The
everything in high resolution, with good clear audio from the line array system. From the point of view of lecturers or the participants onstage, it’s more convenient for them as they give their presentations. We have a lot of people who come in from all over the world to hold international seminars, and this can now be livestreamed from the auditorium. People can watch it at home or from elsewhere across the campus and it can be recorded so that it can go into the archive for future use. We’re building up a big library of digital resources.”
Adds Rajan Gupta, CEO and founder of Hi-Tech Audio and Image: “We are honoured to have partnered with Lal Bahadur Shastri Institute of Management on this prestigious project. Despite facing challenging timelines, our team’s dedication and expertise allowed us to deliver efficiently and effectively. We deeply appreciate the LBSIM management’s support and recognition of our work.”
www.digico.biz
www.hitechavl.com
www.rcf.it
www.sennheiser.com
Jakarta’s XXI Ballroom recently celebrated the official launch of new Indonesian distributor PSR as well as a recent Meyer Sound Panther installation, reports Richard Lawn
CELEBRATING ITS 15TH ANNIVERSARY THIS YEAR, the XXI Ballroom forms an integral part of the Jakarta Theatre, which has hosted some of the most prestigious government, private and corporate events over its relatively short lifespan. Meyer Sound founders John and Helen Meyer were invited as the main guests of honour in late 2024 as their new Indonesian distributor, PT Promedia Sejahtera Raya (PSR), held a gala dinner in their honour. The event certainly made a distinct impression on the worldly wise Californian couple.
Located on the second level, the showpiece facility is on the site of the very first cinema opened by the XXI Cineplex Group. Audiophile and XXI Cineplex Group owner Benny Suherman fully comprehends that technology is not to be compromised in any way. Accordingly, a Barco 45,000-lumen digital projection system conveys HD images onto a 16m x 9m screen. Equipped with inhouse postproduction facilities, the audio system is synchronised to enhance live performances, which can be broadcast.
Ballroom Djakarta Theatre technical director David Sabariman has overseen all things technical, including audio, lighting, projection and multimedia, since 2010. “Benny Suherman wants the best audio available so, in 2017, we ordered a Yamaha Rivage PM10 digital mixing console, and this was followed several years later by a Shure Axient wireless microphone setup,” he explains. “Over the past 10 years, the reliable Meyer Sound Leo and LFC-1100 loudspeaker system has performed flawlessly. However, following a demonstration I attended in Shanghai earlier last year, we decided to upgrade to a Meyer Sound Panther system. The power and the clarity that this double 12-inch module can produce has to be heard to be believed.”
Marking the first premium pro audio installation in Indonesia for Panther, the system currently being used in XXI Ballroom Jakarta will be transferred into the new Senayan Plaza venue when it is completed in 2025. Augmented by 10 2100-LFC lowfrequency control elements, an eight-per-side Panther system is ample for XXI Ballroom’s ongoing requirements.
“With all the audio, visual and lighting equipment installed, our customers enjoy staging an event in the Ballroom because it is easier to prepare everything technically in-house for them,” continues Sabariman. “In addition, they appreciate that we also offer the best sound quality in terms of audio systems and acoustics. Because we keep investing and upgrading, including an extensive set of Ayrton lighting fixtures, we continue to provide a better experience for our customers and their guests.”
Marketing director Andrea Kurniawan enlisted to the venue’s cause in 2007 before it officially opened. “It is our mission to handle all aspects of the events in-house, so we incorporate and manage all aspects of catering and entertainment,” he states. “As a one-stop entertainment venue, it is our responsibility to manage
best-in-class sound, lighting and multimedia. Our clients only need to concern themselves with providing content for their events.”
Having founded Jakarta-based pro audio distribution and systems integration company Promedia Innovation Solutions (PIS) in 2008, Yosua Yan Heriyanto has risen in the YouTube rankings since the onset of the pandemic. Interviewing engineers and reviewing audio equipment, his larger-than-life onscreen persona as a podcaster and video host caught the attention of the Meyer Sound owners.
“I had been in discussions with Meyer Sound for taking on distribution in Indonesia since early 2024,” explains Yosua Yan. “At the same time, Benny Suherman was looking to purchase the first Meyer Sound Panther line array in Indonesia. This led to us both discussing the creation of a new entity for distributing the brand in Indonesia.”
The entrepreneurial Yosua Yan explains the rationale behind the christening of PT Promedia Sejahtera Raya: “Combining professional audio with passion, we have jointly collaborated to create PT Promedia Sejahtera Raya. Mr Suherman is extremely
Meyer Sound. As a visitor to Cinema Con in Las Vegas each year, he has also attended every single theatre there, which mostly use Meyer Sound speakers. Therefore, he appreciates the quality of Meyer Sound and insists on their loudspeaker systems being installed into his own premium venues.”
This joint venture for Meyer Sound distribution throughout Indonesia required an experienced team. Having accrued over three decades of experience at the flagship XXI Ballroom Jakarta, both Sabariman and Kurniawan are now working alongside Yosua Yan in the roles of CTO and COO respectively. “It’s an excellent collaboration between the three of us because we all know each other well,” explains Yosua Yan. “David is an excellent sound engineer, and Andrea is a professional hospitality businessman.”
A team perhaps, but Yosua Yan is focused on sales including bolstering the brand image of Meyer Sound. “I believe that the main customer base needs to be updated with the current technology,” he asserts. “For this, education is key. At the start of the pandemic, I started educational podcasts, reviewing Chinese products launched in Shanghai. Today, we attract over 100,000 viewers on YouTube. We have now created content for Meyer Sound, and the response from the market has been encouraging.” For John and Helen Meyer, the occasion marked their first time in Jakarta in 40 years. “For this special occasion, we set up a meetand-greet gala dinner with a 50-piece orchestra, conductor and well-known singers,” says Yosua Yan. “Naturally, such an event with 150 VIPs including top Indonesian venue owners, sound engineers, systems integrators and church leaders marked a very historic moment for PSR.”
The theatrical event marked the first-time deployment of Panther for an orchestra. In addition, 40 MJF-212 wedges were deployed, eliminating feedback for the onstage performers. Prior to the event and following the Panther system commissioning, Meyer Sound’s director of system optimisation Bob McCarthy conducted a two-day sound system design and optimisation training programme for around 100 Indonesian sound engineers. A wealth of material was shared, including how to prepare a Metallica-type concert speaker system as well as enclosure placements.
“It was important for us to host this gala dinner,” explains Kurniawan. “Wined, dined and entertained by such professional singers with an excellent orchestra, I believe that our VIP guests left with a good impression of the Panther system. In terms of properly demonstrating a loudspeaker system to the right audience, this investment was a good one. We wanted to create a good impression for John and Helen Meyer, and we wanted to convince our existing and potential buyers that Meyer Sound audio systems, such as Panther, are best-in-class.”
As Suherman is also the owner of Cineplex XXI, PSR is handling Meyer Sound’s cinema sound distribution too. With 1,350 cinemas located throughout Indonesia, most of which are equipped with legacy Meyer Sound speakers, PSR is currently
in the process of establishing a sister company to manage after-sales, servicing and repairs. In addition, PIS will act as the systems integration partner for all Meyer Sound installations. Reinforcing the accomplished musicians and singers throughout the evening, the Panther system caressed guests with a velvet touch. Purring for now, perhaps, but the professional audio team led by an Indonesian YouTube star is set to roar throughout Indonesia.
www.21cineplex.com www.meyersound.com www.promediaraya.com www.xxiballroom.com
Golf has entered the 21st century in Indonesia. Richard Lawn discovers how Topgolf Jakarta is revolutionising the game with sophisticated AV systems
MARRYING GOLF WITH HIGH-TECH ENTERTAINMENT,
Topgolf Jakarta has landed in Cilandak. The second location in Southeast Asia after Bangkok, Topgolf Jakarta is redefining the golf experience for people of all ages in a social setting. And a collaboration with property developer Harmas Land is ensuring the highest AV specifications.
Topgolf Jakarta’s 102 hitting bays span three floors on a 3.5ha plot. Games including Angry Birds and Block Party combine elements of gaming and high-tech Toptracer technology. The venue also boasts three restaurants, four bars, entertainment zones and dedicated spaces for corporate and VIP events, including the thirdlevel Social Room, with its 136-inch LED screen.
Based on its extensive experience, Jakarta-based AV systems integrator, PT Albeta Sukses Mandiri, was contracted to install the AV systems. Working closely with interior design firm PT Ong & Ong, together with engineering group PT Meinhardt, project manager William Gendri and his team would be challenged by the scale of the site, new technology and multinational nature of the operation. The AV equipment is installed in an air-conditioned section of the IT server room on the second level. “This location was selected as it is the most central point in Topgolf and ensures that cable runs to loudspeaker outputs and microphone antennas were minimised to 100m,” explains Gendri.
A large wireless mic inventory was specified for a wide range of corporate and private events. In addition, professionals providing academy golf lessons require head-worn microphones. A network of 48 Shure UA microphone antennas with UA874WB active directional and UA860SWB omnidirectional mics, together with UA864HI wall-mount wideband antennas, is one of the largest of its kind in Southeast Asia, enabling discussions to be held across the site.
to the antennas are up to 99m, so we also needed to adjust all the antennas to ensure they have the same power. Shure In-Line antenna amplifiers helped to boost the signal whenever necessary.”
an SM58 handheld wireless microphone transmitting to the three Shure SLXD24A receivers.”
A Q-SYS Core 110f processor serves as the backbone to sitewide audio distribution by networking devices over the Q-LAN Cat6 cabling infrastructure. Connected to the Core 110f processor, nine QIO-ML4i audio expansion inputs and six QIO-L4o outputs separate the local audio microphone signals from the processing hardware. Designed to streamline interoperability with non-networked audio devices, the PoE (Power over Ethernet) inputs are also equipped with microphone detection for monitoring, collating statistics and
The central Core 110f receives audio signals from five Music Box sources and six DJ booth inputs, with video signals coming from three set-top boxes via SAVI Canvas Stream One software. Audio is then routed to the LEA Professional Connect amplifiers and onto the loudspeaker network. The entire network has been programmed in Q-SYS Designer integration software.
Eight LEA Professional Connect multichannel amplifiers manage and control loudspeaker parameters remotely over the QLAN network. A maximum of eight speakers are daisy-chained over the high-impedance network to a single 350W or 700W amplifier channel. “This marks the first installation for PT Albeta Sukses with LEA Professional amplifiers,” admits Gendri. “We like the settings and feature sets including the fact you only need Wi-Fi to connect to the web browser. When you go deeper into the settings, the software becomes very intuitive.”
“This marked the first occasion we have integrated the Shure P821 antenna combiner,” continues Gendri. “Up to eight antennas
Shure Southeast Asia senior specialist Vick Teoh assisted remotely with the design from Singapore. “This was the first time that Vick had designed such an installation,” says Gendri. “When we commissioned the system over the course of two days, we did not find any blind spots when we ran around the entire venue with
The Connect amplifiers can be configured in low or high impedance and, according to Gendri, are easy to bridge. “We can monitor parameters such as signal and output levels within the software. If there is a fault, we immediately receive an alert in the web browser and an email is sent. As the service contractor, we can troubleshoot most problems remotely now. If a speaker is physically
damaged, we can notify the service manager onsite to dismantle the faulty speaker and check it.”
Indoor and outdoor QSC loudspeakers include four AD-S162T column speakers, primarily for speech, in the Sports Bar and a daisy-chained network of AD-S8T surface-mount enclosures along the corridor connecting the outdoor bays. Minimising spillage between the individual bays, each 8-inch enclosure is ceiling-fixed in a vertical position on every level. QSC AD-P6T 6.5-inch pendant speakers cover zones such as the speciality bar and the outdoor dining area requiring higher SPLs. The outdoor range is reinforced by IP-rated AD-DW.180 5.25-inch landscape loudspeakers and subwoofers, while AC-C8T 8-inch and AC-C6T 6.5-inch ceiling loudspeakers provide BGM in more peripheral zones.
A total of 204 LG 43- and 55-inch displays are installed into the 102 driving bays, with 22-, 43-, 55- and 65-inch models located indoors. Weatherproof casings protect the 43-inch displays in the bays, attached to a safety canvas IP-rated bracket at the same precise angle. “The SAVI Canvas Stream One software allows customisation and, for Topgolf, we have divided each one into three screens,” explains Gendri. “Until recently, we would have had to install three separate LEDs.”
Currently supporting around 20 channels, set-top boxes stream the IPTV signals to the 270 displays over the SAVI Canvas Stream One network. With encoders built into the LG displays, the IPTV (Internet Protocol television) is streamed over SDI following programming using drag-and-drop software. “Practice and repetition make perfect so, after the first dozen, our team of four technicians had learnt how to quickly install them into position. The displays were only fixed into position after we had installed the software, wall brackets and cabling. It took nearly four days to install the 204 displays into all the bays. However, the indoor displays took longer as they differed in size, orientation and location.”
The Sports Bar is equipped with four combined LG 86-inch LEDs, while the divisible Social Room event space has two 86-inch LG TVs for each room, and a single LG 136-inch display is used when combined. Two laptops can be connected to AVPro Edge HDBaseT TX and RX wall plates for transmitting HDMI signals via Stream One to an AVPro Edge AC-MX-88 matrix and out to AVPro Edge receivers via Ethernet to LED displays controlled from iPad touchscreens.
All CSF coaxials (6.5”, 8”, 10”, 12”, 15”) are developed using advanced linear modelling techniques to optimize symmetry in Bl(x), linearize Le(x) and minimize parasitic effects and reluctance force on the LF voice coil. Each model employs a single ferrite magnet ‘dual gap’ motor with two demodulating rings and a Polyimide HF diaphragm/surround; Coherently aligned performance and value comes as standard.
55-inch
software developer and Topgolf in the USA, proved problematic at times,” he reflects. “The shop drawing and the construction site differ so, should there be a 50mm discrepancy between the planned speaker or LED location, we needed clarification. That often meant waiting until the following day before receiving an answer. Despite our experience to instinctively make the right decision, we had to follow procedures and guidelines.”
The challenges of scale and integration of new technologies presented by Topgolf Jakarta mark an improved upward swing for PT Albeta Sukses Mandiri.
www.lg.com www.qscaudio.com www.shure.com www.topgolfindonesia.co.id
Australia’s largest collector of synthesisers has moved into a spacious new facility equipped with a Genelec Dolby Atmos setup. Richard Lawn meets Tony Osmond at SynthTemple
TONY OSMOND HAS BEEN FASCINATED BY ELECTRONIC music since the early 1980s. Having saved up for his first synthesiser by mowing lawns, the 53-year-old now owns more than 150. Finding a suitable home would prove to be a challenge until the discovery of a former bus garage.
Climbing the corporate ladder to head up the Australasian arm of a global investment bank, Osmond’s disposable income rose over the years, but the required space to showcase his precious instruments did not keep pace. Having already loaned 30 or more synthesisers to the not-for-profit Melbourne Electronic Sound Studio (MESS), of which Osmond is president and chairman, the time had arrived to find a new home for his rare collection of retro musical interfaces.
“It reached a point about seven years ago when my wife would open a cupboard in the house and a keyboard would literally fall out or there would be one poking out from under the bed,” he laughs. “Most recording studios have disappeared but, as my private collection kept growing, my wife and I realised that we wanted to own such a facility. The concept of making music in a bedroom never appealed to me, so I sought to create a unique space where creative musicians would be inspired to play and produce music.” The origins of SynthTemple were born.
Possessing a weakness for polysynths, big vintage modulars and electronic music classics from the 1970s and 1980s, Osmond realised his collection demanded a large space. An extensive search in and around Melbourne ultimately led him to a disused motor works and bus depot in the suburbs of Abbostford and Kew. Osmond and his wife bought the property in 2017 and, acquiring planning permission in 2020, reconstruction commenced.
“The space is particularly targeted at artists and producers, who spend most of the music production cycle on computers with software instruments,” Osmond explains. “I want artists to rediscover the tactile feel of playing on a keyboard, with the constraints and limitations of that instrument. Many of these the building.
roof layouts and interiors. Both Brown and Mark Hanson of Hanson Associates played a large role in designing the acoustic treatments which builder, Building Makers, so carefully executed. This includes
backboxes. In addition to analogue, a total of five separate networks
RGBW LED lights. The cables can be distinguished by their individual loudspeakers to the recording studio equipment racks. Additionally,
Osmond. “An army of contractors handled the installation, including soldering connections and terminations into the customised steel floor boxes. We laid plenty of extra cabling for futureproofing, which
various Korg, Oberheim, Roland, Yamaha and other rare keyboards are connected to individual laptop workstations – or pods, as
Osmond refers to them – around the Synth Hall: “An artist can come in, set up in a pod and play all the keyboards there or sit at the main desk in the recording studio and literally control everything.”
The restored working synthesisers are displayed on customised furniture designed by Osmond and manufactured by award-winning furniture maker Anton Gerner and plywood specialist manufacturer, Like Butter. Assembly onsite took two days in total. “Anton produces with interesting timber, and he enjoys contributing to these sorts of bespoke projects,” says Osmond. “The furniture is both practical and unique, concealing all the cabling and blending aesthetically within the space.”
Each of the nine pods, named A-H (plus X), is fitted with an equipment rack. From the interface of a Speck X.Sum 32x4-line mixer, an artist can select any of the available synths, samplers and effects returns in that pod. A MIDI interface is present in the form of an iConnectivity mioXL unit together with a varying range of hardware effects units. Four Black Lion Audio 48-point patchbays fitted with gold-plated ¼-inch TRS connectors also form an integral part of each pod rack.
At the heart of each pod is a pair of Metric Halo LIO-8 mkIV standalone converter interfaces. This 16-channel audio recording and monitoring front-end integrates a digitally operated analogue controller. Transmitting audio bidirectionally over the proprietary low-latency MH Link network, a total of 22 daisy-chained converters are detected as just one interface by the main converter.
“The computer just sees one box, but the interface increases in size within the software,” Osmond explains. “With a total of 128 analogue audio input and output channels, together with interconnectivity built in, anyone can plug into the Cat5 network and control the audio parameters from their laptop. The MH Link also
manages the audio clock distribution, audio streaming and system control data for all the MH boxes. System expansion is simplified as all the connected devices are automatically unified into one large unit, with all the I/O ports of new devices automatically available for routing within seconds of being connected.”
Sitting on a sofa in the Synth Hall, Osmond calibrates the Dolby Atmos 9.1.6 system composed of Genelec monitors and three subwoofers. Designed for simple, physical adjustment, the speakers are mounted onto head-height swivel brackets. “From the start of the project, I wanted SynthTemple to come to life with a Genelec speaker system,” he explains. “Some of the monitors from the SAM [Smart Active Monitor] series required custom brackets and wall reinforcement as the monitors can weigh more than 30kg with their powered amplifiers. Despite offering transparency as you would expect, the combination of nine S360 main monitors with six 8350 and 12 8330 studio monitors output deceptively powerful SPLs and an extended frequency response when combined with the large 7382 or dual 7380 Smart Active subwoofers.”
The control room also hosts a 7.1.4 Atmos mixing system comprising Genelec speakers from the Ones Series, including three 8361s, four 8351s and four 8341s with dual W371 woofer systems. The low frequencies are handled by a pair of floor-standing 7370 subwoofers. Genelec distributor Studio Connections’ respected audiophile Steven Spurrier calibrated the speakers in both spaces using Genelec’s GLM 5 calibration software to finely adjust all the monitor settings, while AutoCal compensated for detrimental room influences.
“I contacted Studio Connections in 2020 about the Genelec loudspeakers and met their product specialist, Steve,” explains Osmond. “His expertise was indispensable in the studio design and for perfecting the speaker setup. To provide maximum versatility in the Synth Hall, Steve also configured three 9301B multichannel interfaces which allow the large Atmos system to divide down into multiple stereo arrays for local use in the pods.”
To assemble up to 50 years of synthesiser history under one roof is unlikely to yield a good profit for the investment banker. “SynthTemple is probably not going to generate the greatest ever commercial return, but it will be great for the Australian music industry,” he says. “My wife and I felt we wanted to give something back as most of these vintage keyboards have, unfortunately, either died or disappeared into private collections. All 150-plus synthesisers are maintained in pristine condition by SynthTemple studio manager, Steve Jones, who is one of the best technicians in the world. It is a full-time job keeping everything working here.”
Having set a modest price for an entrance ticket, Osmond wants to extend his fervent enthusiasm to keyboardists and musicians unfamiliar with vintage instruments largely consigned to fading album sleeve notes. For the serious enthusiasts, however, the opportunity to play such rare instruments will be priceless.
www.genelec.com
www.synthtemple.com
Technical Audio Group (TAG) has worked with Laservision on a cultural attraction in South Wales which educates visitors about Indigenous Australian Dreamtime
BILLED AS A “LUNA LIGHT JOURNEY”, THE BULLANGINYA Dreaming installation highlights the artistic storytelling of the Bangerang People’s Dreaming. Located in a remote part of New South Wales along the banks of Bullanginya Lagoon, the spectacle combines captivating visuals and immersive soundscapes with traditional storytelling to bring First Nations culture and history to life. Having successfully undertaken several temporary Luna Light Journeys since Awaken Bendigo in 2021, Laservision was commissioned to install its first permanent exhibit. The challenges of the Bangerang country awaited.
Laservision’s quest was to craft a distinctive entertainment experience that would honour the long history of the Bangerang People and highlight their symbiotic relationship with the land. An immersive journey along a 1.8km walking track was conceptualised to provide visitors with a unique educational experience. The Laservision team spent many months imagining and designing the installation, set in the Australian bush on First Nations land. Ultimately, 13 individual hand-crafted activation points installed with AV and lighting technologies would be discreetly integrated into the natural landscape.
“In a bid to extend their clientele beyond the existing golf course, Barooga Sports Club commissioned Laservision to create a nighttime attraction,” comments Laservision CEO, Shannon Brooks. “Due to the culturally significant nature of the site, it was important to work collaboratively with elders from the Bangerang Clan with the design of the track. It was important that we got the messaging right before we could commence.”
Laservision spent eight months on the 44-acre plot, consulting and collaborating with First Nations people to produce the creative artwork and media. From the initial stages of working out ideas and concepts, Laservision’s turnkey solution would span scripting, production, postproduction, manufacturing, installation,
QSC bollard speakers provide audio at one of the activation points
commissioning and programming. Ultimately, its works were only completed once the local staff had been fully trained to maintain and operate the nightly show.
The resultant path meanders naturally through the landscape, respectfully avoiding sacred indigenous sites in the area.
Visitors to Barooga spend upwards of an hour traversing the activation points along the track. Each attraction, including
People of the Tall Trees,
,
and
and
,
of
,
, celebrates culturally significant events and practices in Bangerang history. Representing the elemental forces of light, water and fire, the activation points along the carefully designed walking track are equipped with various media including lasers, LED lighting and custom art. Audio is the constant.
“Due to the site’s proximity to the Bullanginya Lagoon, the originally planned walking track was impacted by a one-in-100year flood in 2023,” explains Brooks. “Inevitably, this caused delays and necessitated a redesign. After the floodwaters receded, the team reengineered the path and added installation methods that will ensure that, in the event of future flooding, critical equipment including 110 Acme Coolie 546 LED outdoor PAR lighting fixtures can be safely removed and reinstalled to prevent damage.”
Striving to design a show that minimises environmental impact, Laservision was mindful to respect the local flora and fauna. In collaboration with environmental and parks authorities, together with experts who conducted wildlife studies on the proposed site, all 13 activation points minimise light intrusion without diminishing the visitor experience. As a result, the entire site is in darkness except for the illuminated path that snakes its way through the site.
In addition to light, Laservision has ensured that noise pollution is minimised by containing the SPLs. “The overall design is sensitive to the natural environment and the wildlife,”
Blending into the bush backdrop in a green finish, each IP55rated polypropylene and fibreglass QSC ADWL.180 enclosure incorporates a 5.25-inch woofer. Like the lighting elements, the bollard speakers can be removed in the event of a potential flood. However, they also required securing to avoid theft. “To install these, we created holes in the ground with soil augurs before inserting the direct-to-concrete and in-earth base supports for each speaker,” explains Brooks. “The tamper-resistant screws inserted into each base mitigate any damage from accidents or attempted
“In addition to the flooding, the added challenge posed by Covid to transfer equipment and personnel onsite, stretched our resources at the time,” adds Brooks. “However, the Bangerang People entrusted us with their culture, history and connection to the land, so we were committed to honouring that trust in every decision we made.”
In conclusion, Brooks stresses the importance of understanding that the project isn’t just about light and sound. “It’s about bridging worlds, honouring traditions and ensuring that these stories continue to be told for generations to come,” he explains. “That’s a responsibility we take to heart, and it’s what makes Bullanginya so much more than just a light show. It’s a celebration of culture, history and connection. Passed down from Bangerang ancestors, the designs and the colours are not just for show. They represent the spirits of our land, the animals, the waters, the sky.” Traversing the meandering path via the 13 activation points, some visitors complete the trail better educated, others perhaps simply entertained. The localised concentrations of AV and lighting technologies have combined to induce a powerful sensory
Dan Daley discusses the decision to move the AES Show from New
THE AES SHOW AND ITS AEGIS ORGANISATION, THE Audio Engineering Society, are both foundational institutions in the pro audio universe. The parent dates back to 1948, followed two years later by the first AES Convention.
It would be another few decades before it came to be known as the AES Show, but that slight change in moniker also reflected a pivot in the industry, which was shifting away from the era of lab coats and ties in the recording studio. The music production and pro audio community was becoming a far more open technology landscape, where mere mortals could not only touch the consoles but also own them, or at least one of the dozens of more affordable, less technically intimidating versions. Once digital became ubiquitous, pro audio was available to the masses. The problem was that pro audio as an institution inevitably lagged behind its culture. Just as the record labels of the late 1990s fought the arrival of file sharing in courts, the institutions of pro audio had their own latency. For instance, the AES finally recognised the notion of the project
studio only in 2012, 30 years after Tascam introduced the PortaStudio 244 four-track cassette recorder.
Institutions inherently resist change; they are intended to act as reliable repositories of tradition to guide new standards and methodologies. But that same institutional resilience can become stodgy and fusty; in the digital era, that’s potentially fatal. Thus, it’s not surprising that the AES Show has, this century, been steadily growing smaller, even as the music industry makes more money than ever. As recently as 2005, 452 exhibitors greeted 20,260 attendees when they walked through the doors of New York’s Javits Center convention hall. In October 2024, following a steady decline, fewer than 6,000 came to the same venue to see the wares of just over 100 exhibitors. And the announcement near the end of that show that 2025’s conclave would be in Long Beach, California drew puzzled looks from attendees and exhibitors alike: it’s 25 miles from downtown Los Angeles, a tortuous hour’s drive each way on the usually throttled 110 Freeway. But it’s no mystery for the accountants. Long Beach offers a decent meeting venue costing far less than New York, Los
Angeles or San Francisco, the three most common sites of previous AES events. And, like institutions or people entering their senectitude, AES is carefully counting its pennies.
Meanwhile, over the same period, the annual NAMM Show has become a far better fit for what the AES constituency has become. The freewheeling makers of modern music are the artists, engineers, producers and entrepreneurial moguls all rolled into one. AES remains an important forum for the dissemination of the science of audio and sound, and that will likely be its main function going forward. But, in becoming a purely academic proposition, it risks its remaining relevance to contemporary culture. If, however, AES and NAMM can find their way together in the future, as it had with NAB for a number of years, they’d create a synergy from which both communities will benefit.
Meanwhile, as AES prepares its move to California for the Fall 2025 AES Convention, the 2025 New York NAB show will continue as usual, and is scheduled to return to the Javits Center from 22–23 October 2025.
Phil Ward looks at how AI is assisting the recording industry, with a cautionary reminder to beware of its pitfalls
ARE YOU SURE YOU KNOW THE DIFFERENCE BETWEEN misinformation and disinformation? Both mean facts that are wrong, but disinformation is deliberate, and misinformation is not. If I told you it was the other way round, that would be disinformation. Sounds petty, but journalism is under threat: so much so that in 2019 the UK government set up a “rapid response unit” to combat both types of error online, although it didn’t stop some news outlets reporting that Queen Elizabeth II died after being shot in Detroit.
That mistake was not deliberate, being largely irrelevant to anyone’s political agenda, and is attributed to AI: the way that AI’s data-trawling Large Language Models collate and conflate facts until they become a jumble of vaguely linked “truths” without any human intervention of the “hang on, is that really likely?” kind. Computers have no common sense and can’t vote. What they are good at is number crunching, just as the pocket calculator always was, while we make the tea or mix a hit single. Every studio uses AI most of the time, especially in calibrating monitors for a specific room or upmixing from stereo to multichannel. Speaking about his company’s new ORIA Immersive Audio Interface and Monitor Controller,
designed for the rapidly growing immersive audio market for music, film, TV, game and VR production, Audient’s Andrew Allen describes “onboard room and speaker calibration DSP, true immersive monitoring control and professional audio performance, alongside intelligent integrations with Sonarworks and Dolby Atmos”. It does all this by itself, provided you push the right buttons.
And in this extrapolating world of online information, no self-respecting news-bot could fail to recognise sensibly that Dolby Atmos is a driving force across the European studio community, stealthily transcending its origins in cinema. That community is in rude health anyway, but as immersive audio remodels every kind of content new and old – not just into Atmos but a host of different formats in the shape-shifting world of digital art and entertainment – facilities are gearing up for it.
A new facility for Sony Music in Madrid claims to be “the largest new studio complex to open in Europe in recent years”, and at 1,800m2 over three floors in the San BlasCanillejas district, it has some justification. There are Neve consoles and PMC monitors, both highly traditional pieces of inventory in their own way, but Room Two has a 9.1.4 Dolby
Atmos monitoring system and there is also a “media” room with Doby Atmos 7.1.4.
Here’s another typical example: in Rome, there is a new Dolby Atmos mixing facility “to highlight the creative possibilities of this exciting new audio format” and it’s not a commercial studio, or a bureau, of any kind. It’s at Milk Audio Store, a synthesiser and pro audio equipment distributor. For the benefit of its customers, the business commissioned a bespoke room from Florence-based acoustic design and consultancy, Studio Sound Service. Meanwhile, in London, Qube – “the world’s first members’ studio for musicians, podcasters and content creators” – has added Dolby Atmos to Qube East at Canary Wharf alongside Neumann 7.1.4 monitoring, Merging Technologies platforms and Anubis and Hapi processing. If much of this infrastructure wouldn’t work without AI, the creative process does not work with it. It can, as in the case of the last Beatles single Now and Then, extricate a vocal track from a mixed piano/vocal take, but it cannot generate a John Lennon tune. Any attempt would, firstly, be awful and, secondly, would most certainly be disinformation, even if in some Dystopian future it was heralded openly as a technological breakthrough. That’s a fact, I promise you.
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As audio processor manufacturer NST celebrates its first decade, Sue Gould explores the British company’s evolution as it holds firm to its “audio quality first and foremost” mantra
THE VILLAGE OF MALTON IN THE NORTH YORKSHIRE hills doesn’t conjure up audio manufacturing associations but, for husband-and-wife team Dan and Sally Cartman, the choice of location has been intrinsically linked to NST’s expansion. “We can’t quite believe we’re 10 years old because, in some ways, it’s gone in the blink of an eye,” relates operations director Sally. “In other ways, we feel like we’ve worked our socks off and remember every detail: all the struggles and difficulties. When I first met Dan, he talked about building a business. I never for a second doubted his ability or his drive but, honestly, this is not where I thought we would end up.” Engineering graduate and NST MD Dan earned his spurs at BSS, Turbosound and XTA, but the desire to launch independently was always on his mind. “One of the reasons I left it so long was that I was very aware of how tough it could be and how many young businesses fail,” he admits. “I wanted to be in a position where I gave myself the best chance of gaining experience, both on a technical and a business level. The goal to start with was simple: to earn a living.”
Those early years would stretch the couple to their limits. “The original idea was to design product and software, but never to manufacture,” Sally recalls. However, it quickly became apparent that the market needed and wanted quality, and the only way to deliver that was to manufacture themselves. Lengthy R&D processes meant the first products took time to arrive and, during the first five years, all the production, packaging and shipping took place in the loft of the family’s small cottage. First up was the D48, a 4-in/8-out speaker processor with native Ethernet and USB remote control for live applications, swiftly followed by the ID48 installation version.
As the orders grew, a move in 2019 to a converted cowshed provided more room and the ability to increase production. The team increased to six as the 8-in/8-out Dante VMX88 processor launched. Today, the company employs 10 staff in a large industrial unit on the outskirts of the village complete with loading area, dedicated production and R&D offices and ample storage, and capacity to expand further.
“We’ve put a lot of effort into finding the right people with the right skills, but also the right personalities,” says
Sally. “In a small business, it only works when everyone’s putting in the same level of effort. When I think about what we’ve achieved, it’s the staff that bring me huge joy: they’re hardworking and, crucially, care about what they do.”
One of the key hires was technical brand manager Waring Hayes, whom Dan had worked with and known for over 15 years. “I’d followed the company; I knew about Dan’s attention to detail and the quality of the products and it sounded like things were really moving up a gear,” explains Hayes, who is clearly relishing the challenge. “I’m very lucky that I’m part of a team that gets on so well and can speak their minds. Your opinion matters and everybody’s input is considered and that goes for customers as well. Nothing gets thrown away or dismissed.”
ISE 2022 proved a tipping point for NST as the first tradeshow the company committed to after the pandemic. “It was amazing,” recalls Sally. “So many people sought us out, and we were overwhelmed with distribution options.” With the industry experiencing huge supply chain issues, the Cartmans’ forward thinking and risk taking put them at a huge advantage as they were one of the few companies at the show able to fulfil orders.
The “audio quality first and foremost” mantra continues to run deep. NST products have to be reliable, easy to use, rugged and robust. The D48 and the ID48 models are now in their third generation, and all are still available.
While NST might not have the R&D resources of larger corporations, its size offers flexibility. “We can aim to compete feature-wise but still keep our core focus: usability, reliability and sound quality,” says Dan.
Building the brand and expanding distribution haven’t been without challenges, however. “People stick with brands they know and trust and when someone new comes along, it’s tricky,” he continues. “But my years in the business enabled me to make a lot of solid contacts. Personal relationships, people who have faith and trust in you, have made a massive difference.” This is evident in Asia, where Dave McKinney, a former BSS colleague of Dan’s, takes care of the brand under his Generation AV umbrella. “The added challenge is that the two dominant markets – the US and China – are so completely different from the rest of the world that it’s difficult to have a global strategy, so I’m very fortunate we have Dave looking after us in Asia.”
As the company has grown, Dan finds the most rewarding aspects of running the business is often right on the doorstep. “It’s what enables us to help other people: consulting with universities, taking on industrial placement students from York University, teaching our younger staff members and getting them onto a career path. But it’s also the smaller stuff, being able to sponsor the kids football teams here in Malton. We’re a local employer, part of a community, and being able to contribute to that means you’ve created something very special.”
As NST looks towards its next decade, Dan is philosophical: “People often get very focused on innovation, as if you’ve got to reinvent the wheel. Our aim is to refine and simplify things. Some of what we do is quite complicated, but the user doesn’t always need or want all of that.” A lot of resources have been invested in developing a new DSP engine, with products coming to market that will take NST to new places. “We want to make the complicated stuff simpler because lots of products out there are getting pretty sophisticated,” he adds. “That can cause problems in terms of support and training. The industry is becoming increasingly IT-oriented in both the install and live sound markets and there’s more non-audio people getting involved in what we do. We’ve got to make sure our products are accessible to them as well as to the hardcore audio geeks,
The next 5–10 years look set to be an exciting time for NST. “We’ve done the groundwork and now we need to keep listening to our customers, retain the ethos behind what we’re doing and improve,” asserts Dan. “We’ve got a clear idea of where we want to be in both the live and install markets. We see our products that we label for live sound being used in installs and vice versa. We’ve got to be aware of those
Cartmans point out, they wouldn’t be where they are without the support of customers and distributors. “When you see people at a show, you see the wonderful team we have here, when you hear the feedback, it just makes it all worthwhile,” reflects Sally.
www.nstaudio.com
AS INTERBEE 2024 DREW TO A CLOSE ON AN unseasonably warm Tokyo Bay, all agreed that the show was now comparable to pre-Covid times. Bearing in mind its last edition before the pandemic was in 2019, buzzing with anticipation for the 2020 Tokyo Summer Olympics, this was no mean feat, and one that felt like cause for celebration. Visitor numbers were up 8% over last year, while exhibitor numbers also rose by 5%. These small but significant increases, which still have a little way to go before reaching
streaming and the availability of cost-effective content creation technology. The weakness of the yen is another issue, while many mentioned shrinking broadcast budgets as regional broadcasters are affected by the population migration from rural areas to larger cities, and the increase in popularity of streaming as a broadcast platform.
According to Avid’s senior manager audio presales APAC, Daniel Lovell, the US writers’ strike is still having knock-on effects, with postproduction such as language localisation affected by the taps being turned off in America. “Obviously, the money’s not going into postproduction, although the local market has helped alleviate this, but the Japanese yen has made things difficult and the customers have seen a big cost increase,” he says. “However, things are coming back and
and other streaming platforms now; the broadcasters don’t have as much budget and it’s a big problem.”
show we’ve done, having attended some western shows in this industry over the last 18 months where we’ve seen quite small attendance. This is absolutely buzzing; the attendance and interest in our 80-element Konos mic array have been fantastic. I’m really surprised by the size and scale of the show, and I’ll now be attending KOBA in Korea next May with our reseller.” the plan.”
I feel it’s going to pick up. And the good thing about media is that – even in an economic downturn – there’s still lots of content, as well as the desire for high-quality content.”
This polarisation between different verticals revealed itself in stand sizes, with some unmistakeably smaller than in previous years while others took up larger footprints. The latter scenario is partly fuelled by the boom in immersive demo rooms, which most loudspeaker manufacturers are now bolting onto their stand in audio hall 2 by default. These have become so welldesigned and acoustically insulated that convincing 3D audio demonstrations are feasible on the show floor. And clearly, in some quarters, Covid resolutions to downsize and reduce the amount of equipment on show has fallen by the wayside as companies revert to displaying all their latest gear and building complex setups for demonstration purposes.
The InterBEE Experience loudspeaker demo always impresses, with three different categories of systems – point source as well as compact and medium/large line array –professionally set up in the demonstration arena.
Some serious anniversaries were being celebrated at InterBEE 2024 – 100 years of broadcast, 60 years of the show itself, 60 years of Hibino, 40 for L-Acoustics. To paraphrase the speculation expressed by JEITA (Japan Electronic Information Technology Association) chairman Kazuhiro Tsuga in his opening keynote speech, what will the next 100 years have in store for the global broadcast and entertainment technology markets?
2024 Dates: 13 – 15 November
2025 Dates: 12 – 14 November Venue: Makuhari Messe, Tokyo
www.inter-bee.com
the reception has been really good. We’ve held a demo and all our seminars have been fully booked. We need to get government approval before it can start to be used, but now we can make it known to the public, and we hope this will impact the process of getting approval. This year, almost no one is wearing masks and it’s much busier.”
WHEN DIVERSIFIED ACQUIRED RUTLEDGE AV IN 2019, the global technology solutions provider was perceived to be strengthening its international credentials in the APAC region. Headquartered in Melbourne, with 365 employees located across seven states and territories and celebrating its 40th anniversary, the timing seemed perfect.
However, any notions of growth that the American owners contemplated were soon put on ice as the world’s most locked-down city slowly revived from the pandemic.
Having re-evaluated its previous five-year plan, Diversified appointed James Berry as managing director for APAC in December 2023. With 30 years of commercial and operational experience in technology and managed services, Berry is clearly enjoying the challenges his role entails. Prior experience of working in locations including the UK, Hong Kong, Singapore and India is combined with a deep understanding of conducting business in Africa, China, Korea and the US.
Berry’s proven track record in technological enterprises suggests he is a people person. “Managing clients is all about customer service and ensuring that you keep relationships on an even keel,” he muses. “I was attracted to Diversified because it is a great business and a great brand, with an abundance of talented individuals. However, an Australian company that is purchased by a US business needs to be integrated both nationally and internationally.”
Prior to joining, Berry focused his attention on defining the business, where it would perform best and how it could build a very good relationship with the US. “At that time, half of Diversified’s Australian business was in key corporate office environments,” he continues. “The AV industry in Australia had been very badly hit by the pandemic, so we needed to reassert how we were going to engage with customers at a physical level after effectively being put on hold for two years. The reverberations of those stagnant two years and the home–work location balance continues to exist.”
Looking forward, however, Berry was optimistic: “I proposed that corporations needed to invest differently, and that they should not simply replace their old technology. To better engage with their employees and customers, enterprises
needed to redesign their AV systems from the ground up. Although AV plays a massive role here, our industry has got to stop selling the technology and start talking about the outcomes. This is a projection of our industry, so we need to better understand what our clients are trying to achieve.”
For Berry, the client and the AV designer need to work closer than ever before. “It is no longer about conceptualising AV projects in a museum or to enhance a person’s career because the director might not have any idea what the AV can do,” he says. “Both sides really must try to create an experience. To better understand what it is we are trying to achieve in any application, integrators need to detach themselves from bills of materials and technical specifications. AV technology discussions are interesting but asking clients what outcomes they desire is a lot harder. It’s going to take time to stimulate these conversations.”
With more uncertainty in the market, corporates have to spend more wisely, according to Berry. “To identify and discuss the challenges ahead, I meet our largest suppliers on a regular basis. By being honest, we can deal with problems more effectively. If you’re a small company, you’ve simply got to be lean and mean to get through a turbulent period but, as a larger company, you need to collaborate with others.”
Following the inception of a Global Capability Centre (GCC) in Bangalore, Diversified’s regional growth has intensified and enhanced its working efficiencies. “With 320 personnel providing round-the-clock support for all our clients, regardless of time zone, the GCC is a wonderful resource,” enthuses Berry. “Bangalore’s services, such as overnight CAD designs, means our project managers and engineers have more time to spend with their clients. In addition to drawing on these offshore resources, we have added automated processes and tooling.”
Berry’s current mission is to use Australia as a beachhead to launch into Asia. “We’ve recently acquired new Asianbased business with key corporates based in the US, UK and Australia. The message is Diversified is open for business in Asia, and we are eager to grow the business with the right clients by delivering the right product sets. For
example, our programmers in Sydney are supporting a major pharma firm in Malaysia and we’ve got project managers in Perth supporting clients in Singapore. One of our Brisbane resources joined the global team that commissioned the SoFi Stadium in LA. Our business resources are global.”
Joining the business on the eve of the pandemic, Michael Di Ciero, who had gained invaluable experience in managed services at a systems integrator, sought to develop and expand the existing Diversified service offerings. Di Ciero oversaw a team of approximately 80, maintaining full-service delivery operations across Australia. “As we moved out of the pandemic, we began to re-establish the connections with our international teams and truly benefit from the combined global coverage and partnerships we share,” he explains. “Enterprises are more willing to engage with a provider that can service them seamlessly across the globe. Australian clients are also realising value in expanding their current support contracts into APAC with one proven and reliable provider – that is where we come in; that is our strength.
“We wanted to improve, develop our process and structure in the APAC region,” he continues. “In addition to Diversified
associates located in Hong Kong, Singapore and Tokyo, we also engage with service partners to deliver onsite support activities to our clients. Having created an entire ecosystem, we can fully support international accounts.”
Diversified is often requested to upgrade and standardise videoconferencing technology in meeting rooms which have undergone previous inconsistent AV fitouts. “Clients generally want to standardise across their fleet, sometimes to a bespoke design,” says Di Ciero. “Our design team in Australia and India assist during pre-sales with scoping before designing a specific solution. Leveraging the strong relationships we have with manufacturers, our procurement team has established a robust understanding of local and regional nuances such as tax implications, budgets and administrative items.”
Echoing Berry’s words, Di Ciero insists that larger corporates and enterprises prefer to use one international company for all their bespoke AV fulfilments: “Security, standardisation, trust and consistency – regardless of the country – that’s our commitment. Our clients do not have to deal with the uncertainty of a local systems integrator. Since we established a Singapore office, some of our existing Australian clients are requesting extensions of their existing contract agreements in the APAC region. In addition to Diversified entities in Australia, Hong Kong, India, Singapore and Japan, we also have partners who
support our clients in other territories including China, Korea, Malaysia, the Philippines, Taiwan, Thailand and Vietnam.”
Di Ciero often cites Berry’s leadership qualities and experience as being catalysts for the team’s growth. “James’s knowledge from the times he worked in both India and Singapore has been invaluable; he knows how to operate in these countries,” he states. “The business was progressing before he came onboard but, with his appointment, our efforts have been greatly bolstered. It’s all come to fruition now, and we are steeled for 2025, with many experts predicting a big year for India’s economy.”
Closer to home, Berry values the changing nature and importance of talent recruitment. “It’s not just the US to Australia, because Australia seems to be losing good people to the rest of the world right now,” he says. “Australia has been a great breeding ground for talent, and I see that as a strength. However, we need to continue to attract the next generation of school leavers and college graduates if we are to grow our industry. Our weakness remains in converting great engineering into great user experiences, so new recruits must focus on the customer’s needs rather than those of the contractor.”
Working closely with the US provides Berry with a preview of emerging trends that are likely to make landfall in Australia and APAC. “Our US business is highly
successful in the IT and security spaces,” he comments. “Our portfolio managing insecure IT environments, cyber security and cloud-managed services has become part of our digital asset management package, and this department effectively manages our AV systems. Additionally, we have global expertise in the content creation infrastructure with eight out of the top 10 networks running on our infrastructure.
“We will bring that capability to Asia. Our APAC business transformation and relaunch is well underway. We have recently completed two sizeable projects for key US-based multinationals and have new projects in play that will see a huge increases in activity throughout the whole of 2025.”
In conclusion, Di Ciero highlights the fast growth and large international footprint that Diversified has amassed. “However, what is most important is that we maintain a high level of quality, expertise and sophistication for our clients during this growth,” he stresses.
Despite the delays of 2020, the metamorphosis from Rutledge AV to Diversified is more than making up for lost time. In league with their worldwide network, Berry and his team are spearheading the Australian business both nationally and internationally with their service contracts and bespoke installations.
www.onediversified.com
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healthy dose of electricity to do their job. And given the noise component, it’s often preferable for the biggest outdoor festivals to be somewhat off the beaten path and kept away from civilisation. With little physical infrastructure in place, the mighty diesel generator ends up ruling the roost.
Rather than squeezing out every last electron via ultraefficient amplifier technology, perhaps there is another approach. What if attention was turned to the other end of the chain? That’s been the overriding mentality behind UK-based grassroots company Greenwaves, which over the last year has matured its lineup of solarpowered amplifiers to the point where it’s ready to take its message of “saving the planet, one show at a time” around the world.
“Our mission is to reduce the carbon footprint of outdoor events companies and the entertainment industry as a whole,” explains Greenwaves technical director Andy Haynes. “Our amplifiers and solar-powered GreenBank units offer a clean alternative to diesel generators.”
Developed in conjunction with RF and microwave amplifier manufacturer Aber Electronics over the course of two years, the Greenwaves portfolio has grown to include several power-focused innovations to make good on its promise, including audio amplifiers, charging solutions and power banks. Its initial product, the GW2X2K, is a 2x2,000W battery-powered amplifier capable of running for up to eight hours at full volume on a single charge. “All of our tests actually prove that eight hours is conservative; 10 is more representative,” says Haynes. “And it’s more like 15 hours when running vocals and mid-tops only without bass.”
When power does run out, the device can be recharged using mains or solar via one of the company’s portable power banks such as the GreenBank MK1, which is capable of delivering 2,500W peak power and can run a GW2X2K amplifier for a further eight hours. The GreenBank is a portable rechargeable power bank in a rugged Pelican case and features various mains output sockets to deliver 230VAC to whatever the user wants to power.
The GW2X2K battery-powered amplifier is joined by a 1x4,000W product, with a 1x500W on the way soon. “Our upcoming single-channel 1x500W RMS into 3Ω mono version is a lower-powered amplifier for use in pop-up events or fixed installations like nightclubs or theatres,” explains Greenwaves head of engineering Matthew Evans PhD. “It is still solar rechargeable using our charging solutions and is much more portable for a small solution that still packs a decent punch. We envisage it as a DJ box that they can throw in their bags and go to run an event. We are also investigating the possibility of making this IP6X-rated, so it is waterproof to expand the possible applications.”
is truly capable of delivering the power requirements
solutions. “Using our solutions, if you are running on diesel or petrol generators, then you need a much smaller rig,” explains Greenwaves operations manager Richard Lister. “Alternatively, you can run directly from solar which ensures a nice eco-friendly off-grid audio solution. The GreenBank power bank product lineup stemmed from the need for customers to be entirely off-grid – their laptops, mixing desks, in-ear monitoring and radio mics can all be run off the GreenBank, or it can be used as a backup power reserve for the amplifiers to extend runtime.”
Of course, this development process was not a quick journey, and not without its headaches. “The challenges during the development process were significant due to the nature of the technology, and there are important safety considerations when working with batteries due to their high power density,” explains Evans. “We tried a couple of different approaches to the battery power management aspect of the system and settled on what is now a patent-pending efficient technology, but that took approximately 12 months to develop in its entirety. We also developed a secondary method of achieving the same result, but this costs more to implement.
1U and 2U rackmount solar chargers extend the ecosystem further by providing a modular and scalable charging solution for bigger setups, capable of powering one or two amps in a single rack. Used in combination, the products can lower the requirements for generators that have become a frequent sight at outdoor concerts.
“Currently, a 30kW audio system would require at least a 30kW/30kVA generator, usually more for a bit of headroom and to run everything else,” says Evans. “This is so it can service the peaks in the audio waveforms. With our Greenwaves system, a similar 30kW audio rig only requires a 3kW/3kVA generator, which is a size requirement reduction of up to 90%.”
The idea for solar-powered amplifier technology originated from Professor Stuart Walker at the University
Evans, the Greenwaves amps have already proved their capabilities on several high-profile fixtures. “Due to the energy storage and the efficient way in which we are using the available power to provide the audio output level, we can deliver a much better sustained bass performance compared to anything else on the market,” he assures. “This has been proven at multiple events, including Notting Hill Carnival 2024. We recently ran a system which consisted of six of our amplifiers – four were used to drive a single subwoofer at 4,000W each, one was used to drive the main bass and the final amp was used to drive the mid-tops. Needless to say, this system effortlessly rattled the whole building with booming bass.”
The team quickly realised that being able to recharge the amplifiers by solar would also be an attractive proposition, undertaking development of solar charging
“The audio aspect of the system was also a significant engineering challenge,” he continues. “We have an enhanced electronically balanced audio input circuit as well as loudspeaker protection circuitry, which all needed development time from scratch. Audio amplifier circuitry is traditionally sensitive to rapid changes in the power supply, which causes issues when connecting a nearly unlimited peak power delivery source – a highenergy battery – hence the requirement for the patentpending protection circuitry.”
Since debuting the brand, audio developer Reclaim Audio has been a vocal backer of the sustainable technology and the impact it could have on outdoor events. “While many festivals and live events talk about their sustainable credentials, one of the uncomfortable truths is that they require a lot of power to run them,” says Bishopsound/Reclaim Audio founder Andrew Bishop. “I feel the Greenwaves amplifier is the perfect product to help deliver on those sustainable aims without impacting what performers or audiences experience. The overall cost of delivering an event is also reduced, making Greenwaves a solution that will benefit everyone involved in a live event.”
With most of the hard development work now done, and having tested their burgeoning amplifier lineup successfully at numerous events, the small team’s ambitions are quickly growing. “We see these products going global, and have already had interest from companies in Brazil, Colombia, Spain, Jamaica and even Bermuda,” furthers Haynes. “We have a key contact in the Middle East already who knows a lot of the right people for us to speak to, and that is an avenue we are actively pursuing. The solar recharging aspect is ideal for the Middle East market, parts of Asia, Africa and the Mediterranean due to the number of daylight hours every day, as well as the strength of the sunlight. This would mean recharging times would often be greatly reduced compared to the UK.”
While the team’s initial offering is now largely completed, there is no intention of slowing down development efforts moving forward. “We have multiple products in the pipeline for the future too, including upgraded versions of each of our existing amplifiers to deliver a greater user experience and added features,” concludes Evans. “We are also developing wind power to complement the solar charging solutions which will still allow for charging overnight once the sun goes down, or even just supplement the solar supply.”
www.greenwaves.pro
The Axient Digital PSM is Shure’s
THE AXIENT Digital PSM offers highperformance RF and spectral efficiency that caters to the rapidly evolving wireless landscape. This system is Shure’s first Wireless Multichannel Audio System (WMAS) enabled product line, empowering audio professionals to adapt to a wide variety of environments. With a forwardlooking design, the Axient Digital PSM is said to represent a long-term investment, enhancing flexibility and scalability.
With a next-generation digital radio and headphone amplifier design, Shure says performers will enjoy the highest audio quality with no compromises to signal reliability and less than 2.9ms latency. The system features a multichannel wideband mode that significantly increases spectral efficiency, up to 28 channels per 6MHz in the US and 40 channels per 8MHz in Europe. With multichannel wideband mode, users can free up radios for improved RF performance or channel count scalability. Narrowband provides access to more RF output power per channel and maintains spectral efficiency at 17 channels per 6MHz.
Spatial Diversity employs two transmit diversity antennas, each sending an identical signal on the same frequency, providing RF engineers with a new, easier option for supporting separate zones and optimising coverage for stadiums, indoor venues and broadcast studios. When Spatial Diversity transmitters engage with True Digital Diversity bodypack receivers, the Axient Digital PSM combines four discrete signal paths per channel to deliver advanced protection against multipath interference and RF noise.
and ShowLink ecosystem, which means that for the first time, monitor engineers can enjoy remote management of every bodypack receiver onstage, with visibility to key parameters and the ability to make adjustments if necessary.
Intended for either home or studio recording of both vocals and instruments, the SM4 is a large-diaphragm condenser microphone housing a dual-diaphragm capsule and a patent-pending RF shielding system. According to the American manufacturer, it allows artists to create professional-quality recordings regardless of their setup, environment or experience level. The SM4 is intended to streamline the recording experience and features multiple layers of plosive protection and integrated components. The dual-diaphragm capsule reduces popping noises and comes with reduced proximity effect. With patent-pending Interference Shielding Technology, users don’t have to worry about unwanted RF interference noise from wireless devices commonly found in at-home recording environments, such as smartphones,
Futhermore, the Axient Digital PSM transmitters support both analogue and digital input formats, including AES3, Dante and AES67, which enables monitor engineers to easily connect to modern consoles. Standard AES256 encryption is available for secure transmission. The Axient Digital PSM is supported by Shure’s Wireless Workbench
In brief, the manufacturer has introduced the MXA902 + ANIUSB-MATRIX audio conferencing kit, which includes the MXA902 ceiling array microphone with a built-in loudspeaker paired and pre-routed with the ANIUSB-MATRIX audio network interface. The kit is certified for Microsoft Teams Rooms and Zoom Rooms and works with Google Meet.
www.shure.com
to faithfully reproduce both high and low frequencies, with a bass tube ensuring an accurate and extended low-end response. The MD 421 Kompakt also provides effective feedback rejection, and is able to handle exceptionally high sound pressure levels in the most demanding environments.
Meanwhile, the manufacturer has introduced the Profile Wireless, a 2-channel 2.4GHz wireless microphone system that connects to mobile phones, cameras or
provide users with audio, even in difficult conditions. Firstly, each clip-on microphone has 16GB memory for internal recording. Secondly, when the creator activates Backup Recording Mode, internal recording will be automatically turned on if the wireless signal gets too weak. Lastly, a
FORMING PART of the UNIO personal reference monitoring solution, the 8550A professional reference headphones are said to create an even more seamless bridge between professional in-room loudspeakers and personal headphone monitoring. With the additional headphone calibration features available within Genelec GLM software – and the optional Aural ID V2.0 binaural headphone monitoring technology – users can enjoy a “personal and truthful” headphone monitoring experience.
The UNIO ecosystem brings together Genelec’s Smart Active Monitors, GLM calibration software and Aural ID personal headphone technology, all managed by the 9320A controller via the user’s MyGenelec account. By combining a calibrated Smart Active Monitoring system and professional headphones with Aural ID, customers can enjoy mixes that translate reliably between monitors and headphones for an uninterrupted workflow.
The active design of the 8550A allows the headphone output of the 9320A controller to adjust to an individual 8550A headphone
factory calibration to bring precise resolution to the optimised UNIO solution.
According to the manufacturer, this active principle of using the 8550A headphones
of head and ears with a durable, adjustable design and replaceable component parts.
The 8550A’s dynamic design features 40mm transducers and neodymium magnets to
to accurately calibrate the headphone stage of the 9320A provides linearity, acoustic precision and neutral sound character.
The closed, circumaural 8550A provides sound isolation and comfort for all sizes
CATERING TO audio professionals, content creators and musicians, Austrian Audio’s Hi-X20 expands the brand’s range of professional, closed-back headphones. response. It delivers a frequency range of 12Hz–24kHz, with 25Ω impedance and input power of 150mW. Meanwhile, its black and red aesthetic boasts metal hinges and a metal headband, while its foldable design allows for easy storage and transportation. It also features memory foam padding grants and a detachable 3m cable with a 3.5mm connector.
www.austrian.audio
With the calibration file for the 8550A headphones stored within the matching 9320A controller, further personal optimisation is available via Genelec’s GLM 5 calibration software, including slope adjustment, parametric EQ and L-R level balancing. The optional Aural ID V2.0 models the user’s own head and upper torso features to calculate their unique personal HRTF (head-related transfer function) –delivering headphone mixes with externalised presentation, including precise azimuth and elevation, and producing a sense of space and direction that closely resembles in-room loudspeaker monitoring.
deliver a 15Hz–20kHz frequency response, level matching and 119dB of short-term SPL via the 9320A controller. The headphones ship with both leather and velvet ear cushions, and straight and coiled cables.
Aural ID V2.0 is said to heighten the experience further via early reflection room modelling and integrated webcam head tracking support – which tracks the user and maintains a stationary acoustic presentation even when the head moves, for a more natural listening experience. Additionally, support for the Open Sound Control (OSC) standard interface for hardware head trackers provides maximum system compatibility.
www.genelec.com
IN ADDITION to providing custom colour and individual wood finishes to its range of hand-built audio systems, US speaker specialist 1 SOUND now provides metallic finishes to its range of speakers. With metallic finishes for loudspeaker cabinets and metal plating for metal grilles, the company can deliver a range of materials including chrome, brass, gold and nickel, and all finishes are
THE DECO series from Spanish speaker specialist DAS Audio is a family of ceiling loudspeakers that blend into their environment thanks to a mechanical design incorporating a grille that covers the entire system. The DECO-5, DECO-6, DECO-6TB and DECO-8 models al l f eature a frameless grille that extends just 3mm from the ceiling, and all but the DECO-5 boast a 1-inch ferrofluid-cooled soft dome tweeter. The DECO-5, DECO-6 and DECO-8 units are designed for low impedance and are equipped with 5.25-, 6.25- and 8-inch drivers respectively. In addition, the DECO-6TB is a wide-range, passive, two-way system featuring a 6.25-inch low-frequency woofer and is e q uipped with a 15W 100V in-line transformer with multi-pass selector for both high and low impedance.
The DECO-40-T, DECO-65-T and DECO-80-T boast steel enclosures and a durable polypropylene front, and are equipped with a four-way Phoenix connector for parallel connectivity. All three operate at 8W nominal impedance or in a 100V line system, with tap settings of 10W, 20W and 30W accessible at the front on the DECO-40-T, and 15W, 30W and 60W on the 65-T and 80-T. The DECO-40-T has an RMS power handling of 50W, peak power of
200W and maximum peak SPL of 112dB.
Meanwhile, the 65-T has an RMS power handling of 60W, a peak power of 240W and a maximum peak SPL of 118dB, while the 80-T has an RMS power handling of 125W, a peak power of 500W and a maximum peak SPL of 121dB. In addition, the DECO-80-TS is a high-performance ceiling subwoofer that provides omnidirectional coverage with a frequency range of 50–190Hz. It is also equipped with a four-way Phoenix connector and operates at 8W nominal impedance or in a 100V line system, with transformer tap settings of 25W, 50W and 100W. It has an RMS power handling of 200W and a peak of 800W, and a maximum peak SPL of 115dB. All four can be transformed into a pendant speaker to enhance their utility in spaces where ceiling mounting is not optimal.
Finally, the DECO-40-T-LP has tap settings of 10W, 20W and 30W, RMS power handling of 50W and peak power of 200W, and a maximum peak SPL of 110dB. The company says its recessed backcan depth of 99mm and auto-locking tabs allow straightforward installation in ceilings with minimal clearance.
www.dasaudio.com
AVAILABLE IN four colours, the battery-powered ANNY 8 is a bluetooth PA speaker from LD Systems and is the
applicable to both indoor and outdoor applications. The company says that with local sourcing of building materials, 1 SOUND is able to manufacture custom loudspeakers in a quick turnaround time of less than four weeks.
www.1-sound.com
application presets, effects such as reverb and delay are also available and can be switched on and off using
WITH THE addition of sound shaping features to the third generation of Mackie’s Creative Reference powered studio monitors, the US audio specialist is aiming to adapt studio-quality audio to a variety of environments, from music producing to casual listening and partying. Pitching them as “everything” speakers, Mackie says the CR Series’ built-in tone control knob and location switch enable users to shape the sound based on their specific use case. A front-mounted tone control knob starts with the transparent, flat response of a reference monitor, and turning the knob gradually boosts the bass and high end for gaming, casual listening and party environments. Meanwhile, a rear-mounted location switch means CR Series monitors can also adapt to where they are placed.
listening.
The CR Series speaker range features TRS, RCA and 3.5mm connectivity, a built-in headphone output, as well as Bluetooth on selected models. Each speaker contains a silk dome tweeter and woven-fibre woofers and are available in 3.5-, 4.5-, 5.25- and 8-inch sizes. The CR Series also includes a CR8SBT Creative Reference subwoofer, designed specifically to work with Creative Reference monitors, which also boasts Bluetooth to enable wireless connectivity to any non-Bluetooth speakers connected to the subwoofer.
www.mackie.com
EdgeMax
EM90-LP and EM180-LP in-ceiling directional loudspeakers are now available worldwide. The LP models have been designed to provide asymmetrical coverage to smaller rooms and more
challenging spaces and work together with the original EdgeMax loudspeakers to provide performance across projects where specifications and installation conditions vary.
The EdgeMax LP loudspeakers have a 4-inch backcan depth, 60% shallower than the original models, making them suitable for rooms with above-ceiling limitations and tighter clearances. The LP models also feature an 80° vertical coverage angle that is ideal for conference rooms and workspaces
The LPs have been designed to bring the same benefits as the original EdgeMax loudspeakers, which cater for larger, busy rooms with higher SPL needs. Just like the original EdgeMax models, the LPs feature dual-drivers and PhaseGuide technology to project focused sound asymmetrically into a room, delivering directionality and voice intelligibility, all while allowing placement in discreet, out-of-the-way locations.
Montarbo has released the Nettuno 10, 20 and 50 speakers. Designed to meet the needs of sound professionals and event organisers, the Nettuno 10 is suitable for live concerts, large venues and outdoor events. Equipped with advanced Digital Signal Processing (DSP), the speaker can reportedly adapt to any environment. Its compact size allows for easy transportation, while its rugged build means it can withstand the rigours of daily use in demanding live environments.
The Nettuno 10 features an integrated 8-channel mixer, with each channel equipped with dedicated DSP to enable detailed sound shaping to suit different input types. The mixer also includes a range of built-in effects such as reverb and delay, which can be applied independently to each channel. This feature provides users the ability to enhance performances and presentations with real-time sound effects without the need for external processors. The onboard compression feature provides additional control over dynamics, preventing distortion and ensuring that sound remains balanced and clear, even at high volumes. The Nettuno 10 also features Bluetooth connectivity, allowing users to stream audio wirelessly from any Bluetooth-enabled device.
Nettuno 50
At the heart of the Nettuno 20 is its 1,600W RMS power capability, designed to deliver a dynamic and immersive sound experience. Equipped with dual 15-inch subwoofers with 3-inch voice coils, the Nettuno 20 offers a deep, punchy bass that can “effortlessly” fill large spaces. The system also features four 8-inch mid-frequency drivers with 2-inch voice coils and a 1.4-inch HF driver with a 3-inch voice coil, providing clear and balanced mids and highs, ideal for music performances, conferences and
The 90° x 40° (HxV) dispersion ensures that sound is distributed evenly across large areas, providing consistent audio quality to audiences regardless of their position. With a maximum SPL of 137dB, the Nettuno 20 is designed to handle high-demand situations where loud, clear and undistorted
The Nettuno 50 comes with a 4,800W RMS power output, dual 18-inch subwoofers, each with a 4-inch voice coil, two 12-inch mid-frequency drivers with 2.5-inch voice coils and a 1.4-inch highfrequency driver with a 3-inch voice coil. It has a 100° x 50° (HxV) dispersion and is designed to provide wide, even sound coverage across large listening areas.
www.montarbo.com
RECENTLY ACQUIRED from Cornered Audio ApS of Denmark, the Ci Series of loudspeakers from Blaze Audio is a range of five speakers and two subwoofers designed for use in commercial and hospitality locations. The Ci2, Ci4, Ci4-V, Ci5 and Ci5-V are surface-mounted loudspeakers that the company says deliver wide and uniform coverage, clarity and reliability. The IP65rated loudspeakers (IP64 for Ci2) are all two-way, full-range loudspeakers and boast a patented 90° triangular ABS cabinet with built-in sliders to fit perfectly into vertical
and horizontal corners. They can also be coupled together to increase coverage to 180° or 270°. For enhanced bass performance, all Ci series’ loudspeakers can be teamed indoors with the series’ C8S and C12S subwoofers.
Designed in Denmark, the Ci Series is available in black and white, with models featuring a switchable 100V/70V or 8Ω mode, a switchable limiting circuit for the tweeter and 100° vertical and horizontal dispersion.
www.blaze-audio.com
THE FULL-RANGE
digitally steerable coaxial loudspeakers from AVE Stuttgart feature a 4-inch woofer and a 1-inch dome tweeter, both made from neodymium. With a design that aims to closely integrate with cutting-edge technology, the FF Series has been created to provide even more precise, clear and refined sound behaviour. The series focuses on natural sound reproduction and clarity, particularly in acoustically challenging environments such as halls, lecture halls, churches, mosques, conference rooms and museums, where conventional active line array speakers often fall short.
The Ascolto FF Series is available in three different sizes: the FF0870, FF1670 and FF2470. The FF0870 model is more suited for short distances, while the FF1670 and FF2470 are recommended for longer distances. With a pronounced bass presence, all three
www.ave-stuttgart.de
THE CF1230BMB is a 12-inch cast aluminium chassis, ferrite magnet bass/ mid-bass driver from British speaker specialist Celestion. Engineered for a longer throw than conventional mid-bass speakers, it features a 3-inch copperclad aluminium voice coil, providing 700W continuous power rating and 96dB sensitivity with an output frequency range of 50–3,000Hz. The company says the elastomer surround enables a longer Xmax compared to a conventional 12-inch mid-bass speaker, allowing the CF1230BMB to better reproduce lower frequencies. This reportedly makes it a natural solution for discreet, compact subwoofer applications, while its lowfrequency performance also makes it an option for 2-way designs.
As well as extended low-frequency performance, the CF1230BMB features Celestion’s smart airflow vented magnet assembly for dynamic heat dispersion to minimise power compression during operation, and a modified T-pole magnet
DESIGNED FOR low-impedance education and commercial applications, Atlona’s 50W mixer-amplifier and companion volume control wallplate extends the company’s GAIN series of audio products. The AT-GAIN-M50-LZ is a 2-input mixer amplifier that delivers o c hannels of 25W each into 4 W or 8 W , or a single channel of 50W. It features two unbalanced stereo audio inputs on RCA and 3.5mm connections with independent level control for each, while an unbalanced 3.5mm output can pass the mixed signal to an assistive listening system or separate audio system.
on input one when a teacher speaks into a microphone system connected to input two. Its PA sense function also mutes the amplifier’s output upon detecting activity on the school public address system. Mounting flexibility and energy efficiency are also enhanced with a UL 2043-rated low-profile enclosure and an ENERGY STAR qualification. The AT-GAIN-M50-LZ has a manual interface for controlling GAIN-M50-LZ volume levels when a traditional AV control s ystem is not being used in the room; the AT-GAIN-VOL is housed in a US one-gang enclosure intended for wallplate openings and includes interchangeable black or white trim kits.
assembly to enhance performance through improved Bl symmetry.
www.celestion.com
DESCRIBED AS the most powerful amplifier in its IPX series, Lab Gruppen’s IPX 4800 has been designed to drive larger, more power-hungry subwoofers
pass filters adjustable to any frequency. The DSP also provides extensive protection for loudspeaker systems thanks to the software-controlled Speaker
Additional features designed for the education market include audio ducking, which lowers the programme audio level
using two navigation buttons, a rotary encoder and the backlit display. Individual channel mute buttons are also available, and up to 50 user-defined presets may be stored onboard.
Meanwhile, the E 20:2 2,000W and E 40:2 4,000W 2-channel amplifiers form part of the manufacturer’s E Series and feature Lab Gruppen’s IDEEA (IntelliDrive Energy
www.atlona.com
in larger venues. Suitable for permanent installations, portable corporate AV systems or live PA setups, the compact 4,800W 2-channel amplifier comes with a DSP engine equipped with up to 40 real-time, multi-slope parametric EQs along with adjustable gain, input and output delay – and both high- and low-
THE DA4 HD 8K L and DA6 HD 8K L from Extron are 4- and 6-output distribution amplifiers for HDMI 2.1 signals. They support resolutions up to 8K/30 at 4:4:4, including 5K applications such as Microsoft Teams 21:9 in front row
Protect Limiter. Users can access all setup parameters for input mixing, DSP features and limiter settings on the front panel,
Efficient Amplifier) technology. Based around a patented Class-D variant output stage, IDEEA produces high power levels with very
low distortion while drawing minimal mains current. Rail Sense Limiter (RSL) is also exclusive to the E Series and reduces signal clipping to ensure high-quality audio output. User configurable for Hi-Z (70V) or Lo-Z, RSL senses rail voltages and optimises each output for instantaneous load conditions. RSL settings also facilitate asymmetric loading of the channels to optimise performance and efficiency. Total available output power can be allocated among the channels as required by the application. This makes it possible, for example, to drive a small sub on one channel and a number of 70V ceiling loudspeakers on the second channel.
www.labgruppen.com
simultaneous distribution of HDCPencrypted content. Automatic input equalisation, selectable output muting and Ethernet monitoring and control are also provided. Both units are intended for presentation spaces and esports venues,
installations. Each distribution amplifier supports data rates up to 40.1Gbps, HDR, Deep Color up to 12 bits, 3D and HD lossless audio formats. They also provide CEC capability to streamline operation. Features include EDID Minder Plus which provides support of additional memory blocks, while Key Minder ensures
providing reliable distribution of a high data rate HDMI source signal to multiple displays.
The MVC 121 xi is compact, three source audio mixer, featuring audio DSP for mixing and signal processing. It provides a stereo line level input and two mic/line level inputs with 48V phantom power for
condenser microphones, plus fixed and variable stereo line level outputs. It offers gain, filters, bass and treble tone controls, along with parametric EQ. Quick and intuitive configuration of essential parameters is possible using the front
panel controls or DSP Configurator Pro software.
The manufacturer has also announced that new drivers are now available for Pro Series control systems, enabling NAV endpoint PoE control on NETGEAR AVoIP switches. Global Configurator control system software lets system designers create energy-efficient NAV systems and reduce power consumption by powering down NAV encoders and decoders when they are not in use. Using the new drivers, PoE can be turned on or off for each port of the NETGEAR switch based on time of day, occupancy or other criteria. Global Configurator works with TouchLink Pro touchpanels, IPCP Pro xi Series control processors, NETGEAR AVoIP switches, along with NAVigator and NAV encoders and decoders.
www.extron.com
THE SF-PA100A 100W RMS constant voltage amplifier from RDL receives three audio channels on an RJ45 Format-A connector. A selector feeds Pair A, Pair B or Pair C audio to the amplifier that provides a 70V or 100V constant voltage amplified output. At the normal gain setting, the output provides 100W for an audio level of +22dBu. The three Format-A pairs feed through to the Loop Out jack to feed additional amplifiers or other Format-A receivers.
The SF-MA100A audio power amplifier receives three audio channels on an RJ45 Format-A connector. The three inputs are mixed either by the three rear-panel potentiometers or remotely by the three potentiometers on the remote control (available separately). Local or remote control is defined by the Mode switch on the rear panel. If the mixer is remotecontrolled, the rear-panel potentiometers set the maximum gain applied to each input.
The SF-NP100A is an audio power amplifier that receives four Dante (or AES67) network audio channels. It converts one of the Dante channels to a 70V or 100V constant voltage amplified output. The output provides 100W for a network digital audio level of 0dBFS. The other three Dante audio channels are converted to RDL Format-A to feed additional amplifiers or other Format-A receivers.
Input gain on all three models is set by the installer using a rear-panel single-turn potentiometer with an associated dualLED VU meter calibrated to 10dB below maximum power output. They are equipped with an internal VCA for setting the amplifier output level. It is also possible to use the RJ45 jack to connect an external 10kΩ potentiometer or a 0–10Vdc control voltage.
www.rdlnet.com
enhancement which claims to add the flavour of its SL 4000 Series console at home, in the studio and on the road, Solid State Logic has launched the SSL 2 MKII and SSL 2+ MKII audio interfaces. Building on the success of their predecessors, the USB-C bus-powered audio interfaces are compatible with Mac/PC and deliver enhanced features, comprehensive I/O and the SSL Production Pack software bundle.
The SSL 2 MKII features two balanced outputs for connecting monitors, while the SSL 2+ MKII features a total of four balanced outputs for connecting monitors and additional line level equipment. Both feature dual high-performance mic/line pres, dedicated Hi-Z instrument inputs, 32-bit/192kHz converters and redesigned
IN CELEBRATION of the 20th anniversary of the Fireface 800, RME has introduced an exclusive special edition: the Fireface 802 FS AE. The unit boasts an elegant and dark design, inspired by the successful ADI-2 series with an optionally available, new colour-matching ARC USB Remote Control.
The Fireface 802 FS AE is technically identical to the Fireface 802 FS and offers the same features and functions. This includes precise AD/DA conversion, flexible I/O options and high-audio quality. The device is a highly integrated pro audio solution for live and studio use in a 19-inch enclosure and offers 60 audio channels, high-end microphone preamps, reference-class converters, a complete effects section and operation at up to 192kHz. Active SteadyClock FS jitter suppression, DC-coupled outputs for all eight analogue line outputs, individually switchable reference levels for all inputs and outputs, full standalone functionality and identical operation on Windows PC and Mac complete the package.
The Fireface 802 FS AE comes with the TotalMix FX DSP mixer offering routing and monitoring options, as well as the DigiCheck NG Analyzer allowing users to measure and analyse the digital data feed in both directions. TotalMix FX can completely replace an external mixer, enabling the creation of multiple latencyfree monitor mixes with EQ, dynamics, reverb and delay for any outputs, including main monitors and headphone mixes for musicians. Additionally, the Fireface 802 FS AE features the Room EQ from the Fireface UFX III with nine-band PEQ, delay, volume calibration and crossfeed.
The Fireface 802 FS AE also offers an optional Class-Compliant (CC) mode (30 channel I/O with up to 192kHz) and operation with TotalMix FX for iPad. The alternative CC mode can be activated via a recessed pushbutton switch directly at the back of the interface. For controlling TotalMix FX including the latest Room EQ feature, users will find a USB-A port for direct connection of the optional available ARC USB.
www.rme-audio.de
microphone preamps, which deliver 64dB gain range and 116.5dB dynamic range. Each channel also features independently switchable high pass filters as well as switchable +48V phantom power. Their combi-XLR inputs double up as line level inputs and feature a 117dB dynamic range
detect instrument inputs allow users to record anything with a high-impedance output, while the interfaces also offer DC-coupled balanced outputs with 120dB dynamic range. Both have dual headphone outputs that feature high-current NJM headphone amps; these are capable of driving any type of headphone
and boast a 119.5dB dynamic range. A “Mix” control on the front panel allows users to blend between the USB output (DAW) and input sources for zero-latency monitoring, while the SSL 2+ MKII’s headphone outputs A and B feature independent volume control and can also be fed from different DAW outputs. SSL says this can be used for creating separate “artist” and “producer” headphone mixes. The SSL 2+ MKII includes MIDI I/O to control keyboards, drum machines, trigger samplers and sequencers. Its DCcoupled outputs are capable of sending CV (control voltages) to compatible instruments and processors, and both MKII interfaces feature stereo loopback to keep content creators and streamers in the flow.
www.solidstatelogic.com
EXTENDING ITS range of “gig-ready” robust stageboxes, Neutrik has ad d ed the NA-4I4O-AES72 4-channel, AES72-4E model. Complementing the manufacturer’s series of NA2 I-O DLINE devices, it shares the same signature ruggedised, miniature form factor. AES72-4E defines a standard and wiring sc h eme for the assigning and transmitting of four channels of analogue or AES3 digital audio signals, DMX control signals or various other COMS signals, via a single RJ45 connected quad twisted pair Cat cable, providing for lower complexity connectivity networks with reduced cable, connector, installation and termination costs and requirements.
FOLLOWING IN the footsteps of the IONIC 16, Waves has announced the release of the IONIC 24, a 24 mic/line in/18 out SoundGrid stagebox. Powered by Waves Signature Preamps, the IONIC 24 stagebox reportedly delivers superior sound quality with “exceptional punch and clarity” in any live sound scenario and complements the sonic performance of the Waves eMotion LV1 Live mixer. Waves Signature Preamps’ HMX harmonic enhancement feature allows users to choose between timeless analogue warmth and a more neutral sound. The HMX harmonic enhancer is said to deliver a rich, full-bodied sound usually found only in high-end mixing consoles, without compromising any punch or clarity. This feature can be turned on or off per input, with “off” providing a more neutral sound.
Meanwhile, the eMotion LV1 Classic comes with 64 stereo channels and 44 stereo busses, an intuitive workflow, 16 onboard Waves Signature Preamps and Waves processors included with the console. The hardware mixing desk builds upon the Waves LV1 mix engine, which until now has only been available as a software-based modular system.
The rubber-encased unit has been specifically designed for use onstage and in the field in challenging production environments, live event, touring and fixed and location media production applications. With four self-locking balanced combo XLR/ jack inputs and four balanced male XLR outputs, a single NA-4I4O-AES72 can assign and transmit balanced mic or line level analogue or AES3 digital-pair audio signals, DMX lighting control data or various other communication signals via a Cat5/6 STP-type cable. Each input features ground lift and polarity inversion switches –
point mix engine, operating at 44.1–96kHz sample rates. It can also be expanded with Waves IONIC stageboxes that also include Waves Signature Preamps.
The manufacturer has also launched a new version of its eMotion LV1 live mixer software, which also powers the eMotion LV1 Classic. The
NA-4I4O-AES72 will pass phantom power when used with shielded STP-type Cat cables. With input signals present at the corresponding XLR outputs, the NA-4I4OAES72 also provides for the splitting of these signals for monitoring. Self-locking etherCON ports on both rear and front fascia respectively provide for transmission of the AES72-4E assigned input signals and the feedthrough of other AES72-4E signals to loop these to other devices, such as mixing
navigation, channel naming and aux sends. There are also various new features in the LV1’s mobile and tablet apps, such as a flipped landscape mode in the MixTwin tablet apps and more user control in the MyMon personal monitor mixing app.
In brief, the manufacturer has updated its Cloud MX Audio Mixer Premium subscription by adding Waves Stream to the list of available plugins. It has also released Curves Equator,
immersive in-ear mixing via the eMotion LV1 mixer. Waves said that the eMo IEM is a simple software upgrade to the LV1 with no expensive external hardware or complex routing needed. Live sound engineers can set the LV1 mixer’s monitor output to “Immersive” and the performers will receive immersive
a resonance suppression plugin created to improve any vocal, instrument, sample track or full mix with targeted, artefact-free linear-phase filtering to remove problematic frequencies, fix resonances, balance inconsistencies or adjust frequencies within overlapping sounds.
www.waves.com
controlled from AEQ’s ControlPhoenix software, while an API is available to integrate it with orchestrators and third-party applications. Apart from the recommended OPUS algorithm and the uncompressed PCM format, it incorporates the G711 and G722 algorithms to communicate with VoIP devices. For special uses, C and apt-X encoding algorithms are available.
Meanwhile, AEQ’s audio codecs enable the Smart RTP communications protocol to simplify connectivity, and they support SIP and other commonly used encoding algorithms, including those in the N/ACIP EBU Tech3326 recommendation.
THE LP321XY 32x1.5mm² multicore speaker cables from Klotz AIS have been developed particularly for multi-amplifier systems such as L-Acoustics and are 100% compatible with L-Acoustics SC32 cables. Designed to transmit an unaltered signal over long distances, the centrepiece of the cables is the LSC3215YS Xtreme speaker multicore with LCP (Liquid Crystal Polymer) braiding, called Vectran. This braiding integrated into the PVC jacket reportedly ensures a sturdy structure and maximum tensile strength, and prevents the outer sheath from stretching during vertical suspension. The complex core stranding remains exactly where it, even under extreme stress. The LSC3215YS bulk cable remains cold-flexible down to –20°C. The premade LP321XY cables are fitted with high-quality RMP 37p connectors with silver-plated contacts and are also equipped with transparent shrink sleeves on both sides for free labelling. The manufacturer has also released the CP7L Cat7 10Gb long-run network and data cables for transmission lengths of up to 100m. Suitable for analogue and digital signals up to 600MHz, the cables can be used in Class-D, -E, -EA and -F applications such as 10Base-T, 100Base-T, 1000Base-T, 10GBase-T, audio networks such as Ethersound, AES67, Dante and Ravenna, plus video networks such as AVB, SMPTE ST 2110 and DMX lighting control systems. Two cable reels are available: the CP7LEEPWH is assembled with Neutrik etherCON Cat6A
RJ45 connectors. One connector is at the end of the cable, the other is designed as a built-in socket in the drum with a 60° angled outlet. The CP7LREPWH has shielded Telegärtner RJ45 8p M metal connectors with one RJ45 at one end and an etherCON Cat6A RJ45 in the drum as a built-in socket with angled outlet at 60° at the other. The SCY2025WT and SCY2060WT speaker cables have been designed for permanent installation in both fresh water and soil. To ensure smooth outdoor operation in the long term, the SCY..WT series cables have an outer jacket made of a waterproof PVC compound. The PVC of the core insulation and the outer sheath fulfils all the requirements of standard HD 603 S1/A3:2007-04 type DIV 4. Furthermore, the outer sheath conforms to classes DMV 5, DMV 6 and DMV 18 of standard HD 603 S1/A3
TWISTED PAIRS are being increasingly used in areas beyond simple data transfer, such as digital audio applications, to create a network between professional devices. By using one type of cable, wiring is simpler and results in a much lower budget. Tasker’s range of Ethernet cables is broken into different categories –5e, 6A, 7, 7a and 8 – according to the transmission speeds and types of shielding applied to the single cables.
For mobile installations, the C725 (Cat5e S-UTP), C728 (Cat6A S-FTP) and C726 (Cat7 S-FTP) cables have been designed for extra flexibility, thanks to their elementary stranded formation. They are available in PVC extra flex jackets, LSZH or PUR and
and an increased fire load and flame resistance in accordance with IEC 60332-1. They have an extended operating temperature range of –30°C to +80°C.
Finally, the StraightLink ST1200MFE stagebox is available with 8–16 inputs or 8–12 inputs and four returns. For a quick changeover onstage with two existing, pre-wired StraightLink boxes, users need to connect the multicore cable to the respective StraightLink box via the RMP plug. All StraightLink variants can be used as a small sub-stagebox or a complete multicore system.
www.klotz-ais.com
A COMPANION to the GTX 10 compact two-way line array module and the larger three-way GTX 12, the TTR 16K touring amplification rack from TT+ Audio can house up to three XPS 16K 4-channel DSP amplifiers, integrating AC power distribution, signal routing and network connectivity (including a Dante option). Each XPS 16K 4-channel DSP amplifier delivers a full system worth of DSP (including advanced, proprietary algorithms) and 4x4,000W Class-D continuous power at 2.7Ω, 40-bit floating point processing at 96kHz and 32-bit internal routing. A single XPS 16K amplifier powers every four GTX 10 modules. A single TTR 16K touring rack can power a complete
6+6 GTX 10 system with four GTS 29 double 19-inch subwoofers. The racks also feature rugged S-COM and P-COM multipole connectors for signal and power, network switches for Dante audio transport, AC power inputs and outputs, network control and an easy-to-access XLR and AES/EBU patch-bay for rapid routing. The rack design also optimises air ventilation between devices.
Meanwhile, the GTS 19G is a hypervented 19-inch subwoofer for low-frequency extension in touring and install applications. Suitable for both indoor and outdoor use, it is designed for ground-stacked applications and is recommended for sound systems built around
are particularly recommended for external applications.
For fixed installations, CPR homologated cables are becoming increasingly popular, particularly for medium and high fire risk.
The C723 B2ca is a LAN Cat7A S/FTP 4x2x0.25mm² cable that can be used in multiple applications and is approved for the maximum CPR risk class. For all applications where such legislation is not yet in place and where a connection over 2GHz is required, Tasker offers the C724 Cat8 S/FTP cable which can also be used for automation systems.
www.tasker.it
the XPS 16K DSP power platform. Up to eight GTS 19G modules can be connected to a single P-COM 8 connector and controlled via RDNet management software, and the GTS 19G enclosure features three waterproof P-COM 8 pole bayonet connectors on the back panel. Claiming an unconventional motor structure that delivers low-frequency reproduction using a high excursion piston, the Italian company says its 19-inch cone and 4-layer inside/outside voice coil is capable of delivering 140dB max SPL, and it can be used vertically, horizontally or in cardioid/endfire configurations.
www.ttaudio.com
FOLLOWING THE IPcom intercoms system in 2022, Altair has enhanced their ecosystem with the addition of the AirP4ck wireless beltpack. Incorporating cue lights denoting send and receive communications for duplex operation, the 4-channel IPBW-304 operates in the 1.9 GHz licence-free frequency band. Digital encrypted for secure communications, the beltpack also features a built-in speaker and talkback mic for desktop use. Remote GPIO functionality promotes digital management of parameters including battery live and coverage. Operating within a range of 50–350m around base antennas, the removeable battery can operate for up to 12 hours.
AIMING TO enhance long-range communication across a range of events, the Solidcom SE wireless intercom from Hollyland is a lightweight, full-duplex communication system providing reliable communication at ranges up to 350m. It can support up to eight headsets, while its frequency hopping technology automatically avoids radio interference for more stable communications in crowded, radionoisy environments. It comes with advanced Environmental Noise Cancellation (ENC) technology which helps dispel water and wind
making it suitable for streamlined coordination across various departments like production, camera and lighting, with added role and number customisation for enhanced on-set efficiency. The Solidcom C1 Pro – Roaming Hub is compatible with the Solidcom C1 and C1 Pro headsets. It offers two industry-standard mounting holes, 5⁄8-inch and 3⁄8-inch, which enable the attachment of a wide variety of accessories, such as tripods and light stands. On more complex film sets, communication is frequently hindered by
The IPD-3 AirP4ck wireless base antenna ensures digitally encrypted secure communications for up to eight beltpacks, and to a maximum of 40 beltpack users with multiple antennas. The PoE remotepowered antenna requires an RJ45 cable for connectivity and external antenna ports reinforce the coverage.
PoE switch, the IPcom system does not require a dedicated matrix. Operation with uncompressed digital audio, 24-bits/48kHz can be streamed over IP, under the proprietary Altair protocol. Capable of hosting up to 128 users and 128 groups, the IPcom network can be shared with other systems. Accessories include an AC/DC adaptor, A100 headsets and antennas including cable extensions and dividers.
www.altairaudio.com
YAMAHA HAS collaborated with stand manufacturer König & Meyer to produce a range of bracket and stand hardware which is fully compatible with Yamaha equipment. The first two products from the collaboration, the 19400 and 19410, will be stands that are compatible with the manufacturer’s monitor speakers and analogue mixers.
The 19400 is an adapter that mounts a small mixer or monitor speaker on a microphone stand. This solution is aimed at musicians who want a mixer at their fingertips or to set up a simple loudspeaker system. It is fully compatible with the MG series analogue mixers, the mixer section of STAGEPAS BT series portable PA systems and MSP3A powered monitor speakers.
The 19410 allows equipment to be installed on a desk or other surface using a clamp. The stand allows the position and angle of the speakers to be adjusted and it is compatible with the MSP3A powered monitor and MS101-4 compact speaker for multipurpose applications. It has been designed to enable freedom in installations and for locations where working space is limited.
www.k-m.de/en
www.yamaha.com/2/proaudio
Solidcom SE
links in larger or more complex areas. According to the manufacturer, the solution revolutionises film and TV production with its ability to connect up to 20 full-duplex headsets to a single hub, minimising communication gaps, even in intricate shooting environments. In addition, the effective range of a single hub has increased from the previous max line of sight of 350m to 500m, bolstering reliability and flexibility on large sets. It also supports up to six communication groups,
signal, and disconnect from the original hub device. The switching process is said to be swift, the user’s communication connection will not be affected and the voice quality will always remain clear and stable. Even if the user moves quickly in a complex environment, the communication will not be interrupted due to signal loss.
www.hollyland.com
BUILDING ON circuitry of the original 525 Discrete Compressor launched in the 1970s, the 525A FET Compressor maintains the discrete audio path and expands the feature set for even more applications in the modern studio. It combines API’s proprietary transformers, 2510 and 2520 op-amps, retaining the sonic characteristics of the original while promoting the reliability, long life and uniformity of all API products.
Features new to the 525A include variable attack adjustable from 15μs to 15ms and seven
selectable release modes (.05–2.0s). As with its predecessor, the 525A also includes ceiling control which simultaneously combines threshold and make-up gain, a classic 1970s’ analogue gain reduction VU meter, a traditional API discrete audio path circuit design, a proprietary API output transformer, balanced inputs/outputs and a
HOPING TO deliver higher channel counts at a lower price per channel than the BURL GREEN series, the BURL BLACK range of daughter cards from Californian audio manufacturer BURL Audio are designed for the BURL Audio B80 and B16 motherships.
it features the BOPA14 op-amp as well as a smaller form factor DAC chip for increased channel density.
Also for the BURL Audio B80 and B16 motherships, the BDA12 ORCA is a BURL BLACK ORCA monitor and DAC daughter
They claim to deliver a superior recording quality to a recording musician and professional recording studio.
The BAD16 is an ADC daughter card that boasts 16 channels of all discrete transistor, Class-A, transformer-coupled, analogue-todigital conversion. It also features BURL Audio’s BX8 transformer, a smaller form factor input transformer for higher channel density. Meanwhile, the BDA16 has 16 channels of all discrete transistor op-amp, Class-A, digital-to-analogue conversion, plus
card that features 12 channels of Class-A, discrete transistor op-amp, digital-to-analogue conversion, plus stereo, Class-A, speaker and headphone monitoring. Like the BDA16, it employs the latest BURL Audio NextGen analogue section featuring the BOPA14 op-amp and multichannel DAC chip technology. The company says the BDA12 in a B16 chassis is the ideal 12-channel line output plus stereo monitor section solution.
www.burlaudio.com
FRENCH AUDIO
manufacturer Digigram has added a Dante sound card to its ALP-X range. A lighter version of the PCIe sound card that benefits from its most prominent features, the ALP-DANTE-LE was designed using the same sturdy hardware platform as the rest of the ALP-X range. The card also features a low-profile form factor, coupled to a fanless design to address audio applications where space and reliability are at stake. The ALPDANTE-LE operates under Windows and Linux drivers and is compatible with AES67 and SMPTE 2110-30 protocols, increasing its versatility in a variety of applications, regardless of the environments. The card integrates Dante networks thanks to the usual Dante Controller interface. The ALPDANTE-LE comes with adjusted connectivity, while keeping the same number of channels. This optimised card will power a larger array of 365/24/7 applications that require recording, playout or real-time processing.
In other news, the manufacturer has announced the release of an optional MPEG-TS service applicable to its IQOYA X/LINK and SERV/LINK audio gateway ranges. The company hopes that the addition will provide new decoding possibilities in markets where
BOASTING THE ability to undertake recording tasks commonly associated with larger devices, the FR-AV2 from Tascam is a compact 32-bit float field recorder and timecode generator with mixer. The handheld device features dual ADCs with 32-bit float point record capability and supports sample rates up to 192kHz, reportedly a unique feature for recorders of this size. With its dual analogue-to-digital converter technology, Tascam says it is impossible to clip the recording; when editing audio recorded in 32-bit float, quiet passages can be brought up in level while louder parts can be scaled down without introducing additional noise.
distribution and live contributions involving multiple channels. IQOYA X/LINK and SERV/ LINK already provided MPEG-TS compatibility on the encoding phase but the update means that the manufacturer’s audio codecs will be MPEG-TS compatible for decoding, and will allow for the transport of multiple channels over IP networks keeping inter-channel synchronisation. Integration into existing equipment is described as straightforward –the MPEG-TS option is provided through a simple software upgrade on installed devices, extending their sustainability and durability.
www.digigram.com
The FR-AV2 also supports wireless Bluetooth audio monitoring to give users the ability to check microphone placement, monitor incoming signal levels and alert them to unwanted background noises in real time. The FR-AV2 can also generate timecode to enable videographers to synchronise cameras and audio, and can synchronise and receive timecode from other timecode gear, including JamSync. Bluetooth wireless timecode synchronisation using AK-BT2 and Atomos UltraSync BLUE products is also available.
The FR-AV2 has dual XLR/TRS inputs with an EIN (Equivalent Input Noise) of –127dBu, and with two dual XLR/TRS combo jacks it can accommodate most types of external gear. The FR-AV2 can function both as a
standalone recorder or as a USB audio interface, it can be connected to iOS devices, Mac or PC computers, and it can be used as a 2-in/2-out USB audio interface via the USB-C port.
Meanwhile, Tascam’s Studio Bridge is a standalone 24-track audio recorder with a 24-channel USB audio interface that acts as a bridge between analogue and digital domains. Users can record directly to the product itself, which supports Punch In/Out and uses SDXC cards up to 512GB as storage media, or record to a DAW using the device as a 24-in/24-out i nterface. The Studio Bridge can be used on a desktop or rack-mounted for integration with analogue vintage consoles and outboard gear. It handles 24-bit audio at 44.1kHz
and 48kHz, and simplifies mix summing by allowing recorded tracks to be output from an analogue console and summed with outboard gear before being recorded back
into the DAW or recorder itself. Summing is also possible from tape or tracks recorded using the Studio Bridge. As a USB MIDI interface, the Studio Bridge can synchronise with MIDI instruments and devices such as drum machines and sequencers. It features dual footswitch control for customisable functions, and a Mac and Windows control panel, including a meter bridge for visually monitoring signals and adjusting parameters.
Finally, Tascam’s free v2.0 firmware update for its Portacapture X8 and Portacapture X6 portable audio recorders introduces the Pocketstudio app. Designed especially for musicians, the Pocketstudio app delivers the familiarity of the Portastudio-style interface and a host of features like overdub and mixdown. Tascam says it empowers users to mix all existing tracks to a 2-channel stereo file, import, then continue overdubbing to take four or six tracks and turn them into many more.
www.tascam.com
EXTENDING BEYOND the standard 32/48 channel console frame, Harrison has introduced custom configurations for its 32Classic Console. Launched last year, the 32Classic is designed to be integrated into a DAW-driven studio environment and is reportedly the first console to feature 64 channels of premium
AD/DA conversion, coupled with a Dante AoIP interface, all built into the console. The custom configurations have been introduced to adapt the console to a variety of installation requirements and workflows.
www.harrisonaudio.com
PLIANT TECHNOLOGIES has unveiled a range of wireless intercom solutions including the updated SB11L2 SmartBoom LITE Headset and the PHS-IEHU Miniature In-ear Headset, as well as accessories such as the PBT-VMNT Radio Transceiver Battery Adapter and the PAC-RTM-SMU Universal Single RT Mounting Bracket.
The SB11L2 SmartBoom LITE Headset has been enhanced with features for improved flexibility, stability and a more comfortable fit, including a new fieldreplaceable cable and a newly designed swivel earcup. The headset features the SmartBoom muting feature, which allows the adjustable microphone boom to act as an on/off switch for quick muting. It also incorporates a closed back, supra-aural on-ear design and a single-ear lightweight form factor for enhanced acoustic isolation. The ambidextrous, swivelling mic boom has a noise-cancelling directional microphone optimised for voice communications.
The PHS-IEHU In-ear Headset utilises silicone ear concha locks and earbuds for either left ear or right ear orientation. It allows for the use of custom ear moulds designed specifically for the individual user’s ear by Coda Room Audio and Sensaphonics. The PHS-IEHU features a miniature electret microphone and windscreen with a small boom designed for flexibility. An offering of models based on various connectivity allows for use with most industrystandard intercom beltpacks via four- or fi
ADAM AUDIO has released the D3V, a desktop monitoring system designed for songwriters, producers and audiophiles. Available in both white or black, it is equipped with 3.5-inch aluminium woofers and an 80W amplifier to provide a “deep, precise bass” down to 45Hz. D-ART (Desktop Accelerated Ribbon Tweeter) technology ensures that high frequencies are reproduced with the same accuracy and fatigue-free quality as other ADAM Audio products.
pin XLR connections as well as six-pin female Mini XLR (TA6F) connectivity. There is also an option for dual 3.5mm connectivity allowing for its use with MicroCom M or MicroCom XR wireless intercom models. An optional inline PTT (Push-toTalk) button will also be available for applications where external remote momentary talk on/off operation is
The PAC-RTM-SMU Universal Single RT Mounting Bracket and PBT-VMNT Radio Transceiver Battery Adapter have been designed to transform any current CrewCom RT into one that will allow placement of an RT with connectivity to fibre where no AC power is accessible, providing approximately 16 hours of RT battery life, depending on battery size/ capacity.
With accessibility in mind, users can slide on any V-Mount battery to the PBT-VMNT battery adapter and plug it in directly to the 48V port of any CrewCom RT. The battery adapter also allows for the use of any industry-standard V-Mount battery to be used to power an RT for approximately eight hours or more, depending on battery size/capacity. Designed for maximum adaptability and flexibility, the PAC-RTM-SMU universal RT mount supports Manfrotto-style Hex, 1⁄4-inch-20, 5⁄8-inch-27 and 3⁄8-inch-16 mount thread sizes. www.plianttechnologies.com
AVID HAS released the latest evolution of its Pro Tools audio production software, announcing partnerships with leading music technology companies Native Instruments and Steinberg. MIDI plugin partners 510k and BLEASS have also been added to the collection of included MIDI Effect plugins. In addition, MIDI playlists, clip drag-and-drop to virtual instruments and several other MIDI workflow improvements have been introduced. Avid continues to expand its ARA 2 integration with support for Steinberg’s SpectraLayers and WaveLab plugins. ARA integration allows these tools to be accessed directly within Pro Tools, eliminating the need for roundtripping audio for a more fluid creative process. SpectraLayers Go redefines audio workflows with capabilities spanning repair and restoration, with studios able to visualise audio in a hyper-detailed
spectrogram, exploring layer-based editing and AI-assisted vocal extraction. WaveLab Go provides real-time visualisation and analysis tools that can be used for high-quality mastering and music production. Customers with active Pro Tools subscriptions or perpetual upgrade plans will automatically receive SpectraLayers Go and WaveLab Go as part of this release. Avid has also partnered with Native Instruments to integrate its Kontakt 8 Player across all Pro Tools offerings. As the latest release of Native Instruments’ virtual instrument platform, the Kontakt 8 Player adds wavetable synthesis, integrated MIDI tools and Leap, a new way to play and manipulate loops and samples. Hybrid Keys blends sampled pianos, synthesisers and mallets, while Soul Sessions includes keys, live guitar, bass, sax, trumpets and vintage synths.
The D3V’s USB-C input transforms a computer or mobile device into a high-quality audio source, eliminating the need for extra interfaces. For traditional setups, balanced 1⁄4-inch TRS inputs provide versatile connectivity. User-friendly features include an intuitive backplate with acoustic tuning switches, a front panel with a headphone socket and a multifunction volume knob. The D3V also comes with detachable angled stands and a 3⁄8-inch mounting hole.
www.adam-audio.com
The MIDI plugins include SEQUND Lite from 510k, a sequencer that can easily generate complex polyrhythms with presets containing up to 12 patterns, recallable instantly via MIDI notes; BLEASS Arpeggiator, which extends beyond traditional up-and-down monophonic patterns; MIDI Playlists, which allows users to easily record multiple MIDI takes, then compare and edit them into one
desired result; Drag-and-Drop Clips, which allows users to drag-and-drop mono and stereo clips directly from the Pro Tools timeline, clip list or workspace into a sampler or drum sequencer plugin; and MIDI Editor Collapsible Piano Roll, which focuses on keys with notes and streamlines drum programming.
www.avid.com
AIMING TO support the increasingly high channel counts demanded for live sound presentations and available as a free download for Digital Audio Denmark’s DADman firmware, Control | Pack allows easy configuration of primary and backup audio channels in Thunder | Core for live playout applications. Enabling source and destination selection to be performed manually or with logic-based support, up to 32 independent routing preset groups can be configured via DADman and loaded into the AX64, AX Center or Core 256. Each group can accommodate four layers with up to 256x256 channels per layer. Switching between input layer presets can be automated as signal triggers in the Thunder | Core interface via DADman or controlled from an external device. Detector
and trigger configuration can also be handled independently.
Digital Audio Denmark says switching time between routing groups is zero audio samples when operating manually via DADman or an external control panel. Channel switching can also be actioned by a pilot tone or AE6 digital trigger. The processing time for a preset group is less than two audio samples under AE6-based
control or around 1ms for pilot tone detection. The DAD Thunder | Core has a hardware latency of nine samples, 28-bit floating point resolution and is capable of handling up to 256 bidirectional channels at 48kHz and 96kHz, 128 channels at 192kHz and 64 channels at 384kHz.
www.digitalaudio.dk
VISIONARY HAS launched a firmware update for its AV-over-IP 5 Series PacketAV Matrix endpoints, introducing native AES67 audio support across the entire product line.
The addition of AES67 enables integration with a range of audio systems that use this protocol. AES67 facilitates high-quality, low-latency audio transmission in networked environments, providing
SPORTING A complete UI/UX redesign, Merging Technologies says the Pyramix 15 DAW’s modern, dark interface is more intuitive and easier to use. Offering track counts and I/O capabilities up to 384 low-latency I/O at 44.1/48kHz and 64 I/O in DSD/DXD, Pyramix 15 boasts an advanced real-time editor, versatile fade editor, complete mixing and mastering functionalities, and immersive workflows that include support for the Dolby Atmos ADM format.
Pyramix 15 introduces a host of features and enhancements, including a fully customisable configuration that enables users to move busses, strips and aux channels to suit their workflows. Clip-based FX enable effects to be applied directly to individual clips, ARA2 support delivers integration with ARA2 plugins and Merging VS3 plugins have been redesigned and optimised for better performance. An enhanced monitoring section introduces speaker group mute/solo features for multichannel workflows which Merging says is especially useful for Dolby Atmos production. Pyramix 15 also
TAKING THE number of HOME apps into double figures, Lawo’s HOME Downstream Keyer is a video app that the German broadcast specialist says is closer to what a vision mixer provides than to what operators expect from a downstream keying function of the past. Providing comprehensive keying and mixing capabilities to meet production needs and enable additional channel branding, HOME Downstream Keyer allows operators to simultaneously and independently transition up to three key layers over an A/B background mix. It comes with eight ST 2110-20 receivers and two ST 2110-20 transmitters. Each of the three keyers can perform Luma, Linear or Self keying to provide the desired processing for high-end broadcast graphics designed with transparency and drop shadows. As part of the HOME Apps suite, HOME Downstream Keyer can be deployed in both SDR and HDR workflows. It supports SMPTE ST 2110
introduces side chain support for VS3/VST3/ VST2 plugins in MassCore and Native modus, including multichannel support with channel selection.
Pyramix 15 remains a native (ASIO/Windowsbased) DAW that works with all sound cards and is available in Element, Pro and Premium
software packages. It also has the option to add the Masscore real-time engine, enabling up to 384 low-latency I/O with Merging converters or direct integration with Ravenna/ AES67/ST 2110.
www.merging.com
interoperability between Visionary’s 5 Series endpoints and an array of AES67-compliant devices.
The firmware also removes the need for jumbo frames, enabling 5 Series endpoints to work on networks with devices that are incompatible with or do not support jumbo frames. Additionally, the update introduces an improvement in latency performance. The 5 Series PacketAV Matrix endpoints now achieve sub-frame latency, with ~2ms of delay.
Also introduced is support for Extreme Networks’ Fabric Attach capability, which automates critical aspects of network configuration, such as VLAN setup, security policies and quality of service.
This feature aims to reduce the potential for configuration errors, while speeding up deployment times and simplifying the management of largescale AV systems.
The firmware is now available for immediate download for all Visionary 5 Series endpoints.
www.visionary-av.com
The Lawo Virtual Sound Card (VSC) for macOS 14 (Sonoma) is a virtual audio device that enables integration of Apple desktops and laptops into Ravenna/AES67 AoIP networks. Providing both a free and an enhanced licensed version, Lawo VSC runs as a background service and converts local audio into Ravenna/ AES67 streams. The licensed VSC version offers support for up to 128 audio devices, 128 senders and receivers, and sample rates up to 96kHz. It also includes features like PTP synchronisation, multicast and unicast streaming, and adherence to SMPTE ST 2110 and ST 2022-7 standards for redundancy. The free version offers basic functionality with one virtual audio device and two channels. Lawo VSC integrates with Lawo HOME, providing centralised management and discovery of devices via mDNS and SAP.
www.lawo.com
3000 S er ies Net work S ys te ms Scan, Plan, Deploy and Monitor
• Class-leading, extremely wide 60 MHz UHF tuning bandwidth for maximum versatility
• Unique multifunction button on the handheld and body-pack transmitters can be used to switch to a backup frequency should interference be encountered
• Automatically adjusts squelch setting to maximize range while minimizing interference
• Optional network transmitter charging docks
• Frequency scan and IR sync for ease of setup
• Handheld transmitter industry-standard thread mount for use with six interchangeable A-T microphone capsules, as well as other compatible capsules
PK SOUND has augmented the feature set of its .dynamics software with the release of v1.5 for Windows and macOS. The robotic line source system design, control and monitoring software enables users to take their designs from conception to the real world with real-time coverage adjustments.
V1.5’s new features include the implementation of the manufacturer’s incoming Tx14 and Tx26 intelligent point source modules, enabling users to design and control complete system solutions for various mobile and permanent applications. For enhanced user security and confidence, an Auto-Save feature automatically backs up files every 15 minutes.
The toolset provided in .dynamics includes the Venue tab, where users create, simulate and prepare the virtual workspace; the System tab, where users can discover identity and match real-world sources with simulation; and Robotics, where the system’s multiaxis coverage is articulated and optimised. Other tools include Tune, where customers apply EQ and adjust system parameters through onboard DSP; Live, which enables the user to monitor system performance in real time; and Status, where they can manage diagnostics and log service notes directly in the loudspeaker if needed.
www.pksound.live
AIMING TO streamline workflows for systems integrators and engineers, Allen & Heath’s V1.5 firmware expands the feature set of the company’s AHM series of matrix processors to include EQ ganging, all-pass filters, NTP support and user permissions. The EQ ganging feature allows users to gang together any parametric EQ to enable relative, absolute or mirrored changes on the fly. A bypass option has also been added to quickly punch a single PEQ band in or out, and the Q bandwidth is tighter for demanding applications. Meanwhile, enhanced PA processing tools make it easier to fine-tune any sound
system; each speaker processing band now benefits from an all-pass filter, switchable between 1st and 2nd order, and stereo output zones can now be configured with a mono sub. Crossover frequencies can also be linked or unlinked per band for filter flexibility and control.
THE RØDECASTER Video is a production console that aims to combine video switching, production and recording
ENABLING USERS to design, configure, control, monitor and apply signal processing to its L Class compatible loudspeaker systems, QSC has launched a major update v2.1 to its SysNav (System Navigator) software. The release introduces a range of features, including an inventory function to create and save systems offline, as well as connect virtual loudspeakers and arrays to physical devices. It adds system design functionality to enable array and loudspeaker inventories and DSP settings to be created, saved, recalled and applied to physical devices, as well as user-adjustable EQ and filters; these include a six-band parametric EQ and high-pass filters for use with QSC and generic active subwoofers. V2.1 also makes improvements and refinements to the SysNav AIM (Array Installation Modeling) prediction tool and updates firmware for
the LA108 and LA112 active line array loudspeakers.
The update also provides support for the LS118 (4kW, single 18-inch) active subwoofer, which QSC has announced delivers additional performance above and beyond its published preliminary specification. The company says it now boasts a 4,000W power amplifier that produces a clean and undistorted 138dB of peak SPL. Further product refinements include the ability to generate a cardioid radiation pattern using two or more units, providing up to 15dB of rejection behind the subwoofers’ arrangement, and an onboard DSP that provides optimal cardioid performance for back-to-back, side-by-side and stacked deployments.
www.qsc.com
video podcasters, livestreamers and broadcasters, the RØDECaster Video from Australian manufacturer RØDE pairs a highperformance octa-core CPU with a next-generation video engine. Four HDMI and two USB-C inputs allow for connecting and switching between six video sources simultaneously, including USB webcams, while two Neutrik combo jacks are built in to capture audio from XLR microphones, instruments and other audio
The unit features dual internal wireless receivers for connecting RØDE Series IV wireless microphones such as the Wireless PRO, Wireless ME and Wireless GO II, and its APHEX audio processing includes an EQ, compressor, noise gate, high-pass filter and de-esser, as well as RØDE’s Aural Exciter, Big Bottom and Compellor effects. Its automatic green or blue screen aims to effortlessly replace backgrounds and use video sources in scenes, while its “Inspect” feature enables users to quickly preview and configure any input or scene.
Designed for hands-free switching between video sources and scenes, the RØDECaster Video also boasts an audio-based autoswitching feature for solo creators and for
AHM 1.5 also includes Network Time Protocol (NTP) support, a granular System Manager permissions feature that allows for up to 10 password-protected user profiles and the ability to patch zone outputs directly to input sources. Integration with A&H’s IP series of controllers has also been expanded. The XPoint mixer rotary function for IP1 and IP6 transforms a single rotary control into a full room mixer to provide customised controls. An IP identify function and new display options for IP1, IP6 and IP8 are also included.
www.allen-heath.com
shows without producers. On the output side, the RØDECaster Video can stream directly to all major platforms via Wi-Fi, Ethernet or USB, as well as record directly to an external USB storage device, including multitrack and isolated (ISO) recording for complete post-editing flexibility.
In brief, the manufacturer has also introduced a white edition of the RØDECaster Pro II. It joins its smaller sibling, the RØDECaster Duo, and a number of other products in the RØDE White Collection, including the PodMic microphone, PSA1+ studio arm, NTH-100 headphones and Wireless ME Dual Set.
www.rode.com
AUDIENT HAS added the Softube plugin to its Software Bundle ARC with the company offering a free one-month trial of Softube Flow Mastering Suite software to registered customers. When becoming a paying subscriber, Audient customers will also receive a gift of Softube’s FET Compressor MkII VST/AU/AAX plugin. Flow Mastering Suite offers pro mastering for music producers and enables them to finalise tracks within seconds with signal chains created by professional engineers and gain access to a whole raft of mastering-grade tools. Softube joins Cubase, Strymon, Sonarworks, GForce, Produce Like A Pro and Spitfire Audio on Audient’s Creative Hub ARC.
Designed to speed up workflows, the iPad Remote App is a free application that allows users to control the ORIA Immersive Audio Interface and Monitor Controller remotely from an iPad. Providing access to all of ORIA’s key monitoring features via a touchscreen interface and on a single screen, users can keep an eye on levels, audition speakers and use Profiles to switch between speakers, listening levels and target curves. Audient has also launched a Dante Card as an optional extra for those who require it, providing up to 16 input channels over IP when used as a standalone monitor controller, making it ideal for large studio complexes and education facilities.
www.audient.com
single-gang, US-style HDBaseT 2.0 transmitter that provides a practical solution for extending video and control signals. With support for 4K60 maximum resolution and USB 2.0 extension (150Mbps), it’s suited for use in conference rooms, classrooms and training facilities, ensuring signals are transmitted effectively to where they are needed. To enhance its performance, pairing it with the RX-500 is recommended. This setup offers a straightforward way to improve signal transmission in any professional environment. Meanwhile, the TX-35-IWC-KVM features a USB Type-C input so that any source support Display Port Alt mode can be extended.
The EX3-100-EARC extends 18Gbps AV signals up to 100m over Cat6a. This extender uses HDBaseT 3.0 technology to send 4K HDR and Dolby Vision content at 60Hz. Compatible with eARC, users can transmit audio signals such as Dolby TrueHD/Atmos and DTS-HD MA 7.1 signals from a smart TV back to an eARC-enabled AVR or soundbar. Flexible control passthrough options including IR, RS-232 and LAN allow users to control a display and get devices connected over long distances.
to the host PC on the far end.
The EX-100-USB3 100m USB 3.2 HDBaseT extender kit has been created to support the latest USB 3.2 standard. It is designed for the most data-hungry devices like 4K webcams and high-fidelity USB microphones. It offers rapid data transfer speeds of up to 5Gbps,
Finally, the APO-SKY-MIC is a ceiling microphone designed for integration with the Apollo Video Bar. Designed for conference rooms and lecture halls, the solution keeps workspaces clutter-free by mounting discreetly on the ceiling, leaving tables free from wires and microphones. It can be paired with the APO-MIC-EXT to cascade up to three times for expanded coverage.
www.wyrestorm.com
AIMING TO address the demand for
switching over 10G Ethernet networks, with a range of up to 100m. Its independent USB 2.0 matrix switching layer supports multiple devices and it can create an ecosystem of networked devices and screens from a single source. For larger and more complex AV installations such as control rooms, broadcast centres and high-end corporate use cases, the Gemini GVN is an IP-based
through the Lightware Device Controller. Offering integration with third-party control systems, the Gemini GVN also allows AV integrators to build large, distributed systems over an IP network, providing the performance of a traditional matrix switch with the flexibility and scalability of IP architectures.
www.lightware.com
AMETEK SURGEX has launched its Defender Series+ line of power protection products to the EMEA and APAC markets. The Defender Series+ has been designed to deliver cost-effective mains protection and conditioning for everyday applications, and features the cloud-connected power quality analytics, fleet management and risk prevention capabilities found within the SurgeX CONNECT platform.
Installed in AV and IT equipment racks, the IP-controlled Defender Series+ features remote turn on/off, power cycling and sequencing, as well as advanced scheduling AutoPing and
complex, processing-heavy AV systems of today, the Defender Series+ is also compatible with popular third-party control systems for integration in commercial applications. Its power filtration technology is said to deliver “pristine” power to equipment to help maintain peak performance for every project. The Defender Series+ joins SurgeX’s Protect + Connect product line. All Protect + Connect products are compatible with SurgeX CONNECT, a cloud-based solution that allows for monitoring and managing an entire fleet of compatible SurgeX devices in a single, centralised dashboard. This integration
UK CONTROL technology specialist Datapath has enhanced its Aetria video management platform with the addition of a dual 4K AVoIP capture card, a dedicated operator workstation and expanded software functionality.
The VisionSC-A2 high-density capture card extends the Aligo AVoIP toolkit by providing cost-effective capture of Aligo streams from an Aetria network, directly into a workstation or videowall controller. With two 10G channels on each card, the VisionSC-A2 aims to meet the requirement for displaying increasing data volumes on a multiscreen operator workstation or a shared large-scale videowall surface. Each channel enables a single VisionSC-A2 card to capture two visually lossless 4K streams, a single 4K and up to four HD streams, or up to eight separate HD streams. It inherits all the benefits of Datapath’s VisionSC range of capture cards, including capture up to 4K at 60fps, 10-bit colour transfer and HDCP compliance. It also gains access to a powerful scaling engine, allowing the capture engine and the graphics to work in harmony, maximising any limited bandwidth availability. Meanwhile, Datapath’s VSNMini 300 can now be pre-configured for use as a dedicated operator workstation PC. It offers up to four 4K
outputs and can be configured with Datapath capture cards to provide a compact solution for control room operators.
Suited for operator workstation installation, the system is configurable with Intel i5, i7 or i9 processors, providing scalable processing power for large video volume installations. When configured as part of an Aetria solution, it allows operators to monitor and control multiple remote sources alongside local applications such as email clients, web browsers and messaging, all from a familiar Windows 11 environment.
VIZRT HAS expanded its TriCaster range with the TriCaster Vizion and TriCaster Mini S. The TriCaster Vizion is the new flagship TriCaster that offers the latest in IP connectivity, configurable SDI I/O supplied by Matrox devices, switching, audio mixing and state-of-the-art graphics. It features
creators and smaller productions, making professional-grade production capabilities “more accessible than ever”. It possesses robust IP connectivity, 4Kp60 streaming and integrated TriCaster Graphics powered by Viz Flowics as standard. Features include live video switching, virtual sets, special effects,
Other features include Wall Manager which allows operators to control any connected videowall directly from the Aetria Workstation interface; Aetria Command Center which provides a central dashboard for administrators to view the status and health of their Aetria Network Manager appliance; and the ability to pan and zoom sources displayed on a videowall in Aetria Command Center. The Aetria Touch control panel has also been updated to include UI Translations, automatic source list decluttering and the ability to add/remove banners, borders and OSD assets.
www.datapath.co.uk
LOOKING BEYOND its traditional core market, the tuneable Ens ō Prime lenses from ARRI are designed to cater for content creators at earlier stages of their careers. Forming a family of 14 lenses ranging from 10.5–250mm (350/500mm with Ens ō Extenders), each Ens ō lens boasts a magnification ratio of 1:4 on most focal lengths. This is equivalent to 10-inch close focus on the 32mm, which is only 3.7 inches from the front element. ARRI claims that while care has been taken to balance the optical parameters that define the native Ens ō look, each lens can also be tuned with ARRI’s Ens ō Vintage Elements, which are interchangeable optics that attach magnetically to the back of Ens ō lenses to achieve many different looks from a single lens set.
Building on feedback from its Impression Filters for Signature lenses, Ens ō Vintage
TriCaster Graphics powered by Viz Flowics as standard, as well as AIpowered automation of time-consuming tasks. The TriCaster Vizion comes with options in licensing and with a choice of two different hardware platforms supported by HP, so teams in networks or enterprises can decide what suits them best. Support is built into both the perpetual and subscription licensing options.
The TriCaster Mini S is an entry-level, software-only solution for content
Elements produce images that are sharper in the centre which ARRI says makes them easier to focus, but with a stronger detuned effect at the edges of the frame.
They also feature encoded chips that convey metadata about shifts of focal length, T-stop and focus to the camera, and from there to on-set monitors and
audio mixing, recording, social media publishing and web streaming. Using a simple software download, users have the choice of any approved hardware or to use their own.
In brief, the manufacturer has also announced that two of its cloud-ready video production switchers – the TriCaster Vectar and TriCaster Now – are now available in Amazon Web Services (AWS) Marketplace.
www.vizrt.com
postproduction. Focus scale changes caused by the Elements can even be compensated for automatically with the ARRI Hi-5 hand unit, whether crews decide to use the included lens shims or not. Gear rings are in the same position on all 14 of the Ens ō focal lengths, most of which are T2.1 and have a front diameter of 95mm so they can be swapped on the camera without disruption. While ARRI says the focal lengths in the core set will be the most frequently used, the wideangle 10.5mm and 14mm, as well as the telephoto 250mm (350/500mm with its included 1.4x/2x extenders) allow Ens ō shooters to meet more extreme visual demands. The core set of ARRI Ens ō Prime lenses includes six focal lengths and the Vintage Elements Kit at 18mm, 24mm, 32mm, 47mm, 75mm and 105mm.
www.arri.com
MODULO PI has launched the latest and most advanced version of its realtime media server platform, Modulo Kinetic V6. It introduces new features and improvements, with a focus on upgrading the 3D workflow and unlocking new interactive capabilities.
Modulo Kinetic V6 features a user-friendly interface and improved usability to offer a smoother experience. Bringing enhancements to the 3D workflow, the embedded 3D engine has been upgraded, delivering performance boosts for real-time productions. Photorealistic rendering has also seen enhancements, thanks to extensive work on lighting and textures. In addition, a variety of features are enhancing the media server’s 3D projection study tools, including dynamic projector information, new rendering modes and display of stacked projectors. Preparing client documentation has been simplified thanks to a new editor allowing users to organise 3D scenes snapshots and export books as a PDF.
functionalities designed for interactive experiences. It adds the support of more devices, like the Canon EOS camera and TWAIN protocol for scanners. Furthermore,
BRINGING PROFESSIONAL audio mixing tools in a desktop interface for online gamers and content creators, Roland’s Bridge Cast One is the latest addition to the company’s Bridge Cast family of livestreaming products. The interface offers core series features in a compact interface with streamlined multifunction controls. Users have access to dual bus mixes, vocal transformer effects, fast-access presets and support for a broadcastgrade mic and headphones. For more control, the companion Bridge Cast app offers extended audio tools plus royalty-free background music and sound effects through BGM Cast on Roland Cloud. Bridge Cast One is a scaled-down version of the larger Bridge Cast and Bridge Cast X models. Onboard DSP handles the audio load, letting users dedicate their computer’s power to gaming or streaming. The device lets users create independent sound mixes for personal monitoring and online streaming. The personal mix can prioritise game audio and voice chat, while the stream mix can be optimised for maximum viewer engagement. The XLR input features a high-quality preamp with selectable
phantom power for broadcast-grade mics, eliminating the need for an external levelboosting device.
A simplified workflow is also promised via a large control dial, five buttons and a dedicated headphone level control.
Pressing the dial cycles through three different level control assignments, while the three buttons below can be assigned to operate different functions. Two additional buttons provide fast access to voice transformer and Game EQ on/ off and preset selection. The companion Bridge Cast app unlocks additional features for more real-time control while streaming.
Users can adjust mic settings, apply audio processing, tweak voice transformer settings and set up Game EQ presets.
Bridge Cast One provides 5.1 or 7.1 virtual surround sound for headphones and stereo speaker systems. Computer audio is converted to virtual surround sound via the USB connection, providing an immersive sound experience with virtual speaker adjustment using the Bridge Cast app. This feature will also be added to the Bridge Cast and Bridge Cast X models with an upcoming system update.
www.roland.com
Modulo Kinetic’s nodal compositing tool offers additional advanced nodes such as 3D physics engines, QR code image
extractor and dynamic media update. Additionally, Modulo Kinetic now allows real-time capture and extraction of a photograph or image scanned, to update the rendered media in a show. For highly specific needs, users can go further using JavaScript with their preferred integrated development environment. The code editor offers syntax highlighting to make the coding process more intuitive and efficient.
Modulo Kinetic V6 also brings features and improvements designed to facilitate day-to-day operations. Among them, a new EDID generator available in the Kinetic Designer interface aims to help users deal with any type of resolution, especially non-standard resolutions for LED displays.
www.modulo-pi.com
ATEN INTERNATIONAL has launched the VP2420, a 4x2 True 4K HDMI presentation matrix switch with multiview capabilities. It provides switching between multiple sources across mixed-resolution displays for an uninterrupted flow regardless of whether devices are connected or disconnected. Suitable for huddle rooms, medium-sized meeting spaces and even control rooms, the VP2420 has been designed to elevate collaborative presentations and training sessions with its viewing experience and layout adjustments.
Also suitable for smart classrooms, it offers six different multiview layouts to present teaching materials. This enables instructors to conduct training sessions with options such as quad, triple, picturein-picture (PiP), picture-by-picture (PbP) and full-screen views. Additionally, the VP2420 supports versatile audio setups with options for audio embedding or separate extraction. Whether used as a standalone unit or integrated with control systems, it provides simplified source control and future scalability, with up to four presentation switches cascaded. Control is managed through front panel
to enhance teamwork and decisionmaking. Alongside splitting content, the VP2420 offers two independent displays: one that manages up to four sources at once for comprehensive overviews and another that highlights key content, keeping crucial information in focus.
to distribute large amounts of data across each monitor with multiview layout adjustments. Different layouts can reportedly switch within 1s in True 4K resolution.
www.aten.com
LYNX TECHNIK has introduced the yellobrik PEC 1464, a 12G-SDI, HDMI H.264/265 streamer and recorder. It is the successor to the PEC 1864 and brings an array of improved features for elevating AV media production and broadcasting.
The PEC 1464 H.264/265 encoder offers a versatile solution for users who need to stream and record content simultaneously. Users can choose to stream content while recording, stream-only in unicast or multicast, or record-only. Users can stream live events or broadcasts to a content delivery network (CDN) while creating a backup recording for archive; stream to a CDN for global distribution or multicast a video feed within a network; distribute a single stream of audio and video content to multiple recipients simultaneously; or stream live video to popular online video providers like YouTube, Facebook, Twitch and Rumble.
The PEC 1464’s feature enhancements include 12G support and compatibility with SRT, a video transport protocol that
VADDIO HAS introduced its RoboSHOT Elite series with HDBT, HDMI, USB, SDI and NDI variants. Designed with a 1/2.5-type Exmor R CMOS s e n sor, Elite cameras have been designed to deliver high-definition video image quality. The units’ image signal processing (ISP) reportedly results in better light-gathering capabilities and sharp 1080p/60 video, even in dim lighting conditions. The cameras are equipped with enhanced wide dynamic range, which can help correct for environments with uneven lighting by making darker or over-bright areas in video more visible and detailed. Features include IP streaming (RTSP or RTMP format with H.264 compression) to allow
optimises streaming performance across public networks. It also supports RTMPS, which provides a higher level of security for live streaming. In addition, it can stream multiple protocols simultaneously.
The new yellobrik supports video formats up to 12G/4K UHD and HDMI up to WQUXGA, as well as all popular streaming formats. Video processing capabilities include automatic logo insertion and the ability to insert custom images. Downscaling features optimise resolution management, while frame rate down conversion supports seamless playback compatibility. Text overlay capabilities further enrich content with dynamic textual elements. A versatile logo inserter supports multiple formats, while a transmission fallback option ensures continuity with a test pattern when needed, adding reliability to each workflow. It also includes 8-channel embedded audio processing.
www.lynx-technik.com
users to share live events such as church services over popular applications including YouTube, Livestream and
A web-based user the user camera in the world over an IP network. To watch the IP stream,
do is enter the camera’s streaming URL into any standardsbased (H.264, RTSP format) player. The units can be used for remote management, network operating centres and overall IT control.
www.legrandav.com
THE SECOND cinema EOS camera to feature Canon’s backside illuminated (BSI) stacked CMOS sensor, the EOS C80 is an RF mount camera that builds on the
180° VR, 3D Theater and spatial video ready to be experienced on devices like Apple Vision Pro and Meta Quest 3. In addition, three RF L series hybrid
lighting conditions with the EOS C80’s triple base ISO of 800/3,200/12,800, while an intelligent auto-switching mode transitions between these base ISO levels to keep pace with dynamic scenes such as news segments or live sports events. Other features include dual pixel CMOS AF II technology that delivers face, eye and head tracking, as well as body and animal tracking. The camera also introduces a brighter LCD panel as well as an improved joystick design closer to the thumb, and its built-in Wi-Fi and Ethernet connectivity reportedly makes file transfers, remote camera control, IP streaming and streamlined collaboration easier. Mirroring the compact form of the EOS C70, the EOS C80 supports 12-bit Cinema RAW Light of up to 6K 30p, as well as MP4 video formats such as XF-AVC S and XF-HEVC S. These options deliver oversampled 4K 4:2:2 10-bit image quality in manageable file sizes, and all recording formats benefit from detailed metadata and structured filenames.
RF50mm F1.4 L VCM have been designed for hybrid use and optimised for those switching from photo and video needs quickly. They feature an optical design that uses the RF mount to achieve high quality across the entire image area. The RF70-200
Designed for social media content creators and enthusiast videographers, the RF-S7.8mm F4 STM Dual lens is compatible with the EOS R7 and becomes the latest addition to the growing EOS VR System lineup. The lens can be used to explore storytelling in the expanding world of VR and 3D content creation.
The 7.8mm focal length and 60° angle of view provide an immersive field of vision, for capturing detailed 3D content, allowing creators to deliver “captivating and lifelike” visual experiences. The lens operates like a traditional 2D RF mount lens, with a straightforward workflow. After capturing video, users can leverage the EOS VR Plug-in for Adobe Premiere Pro to convert footage to 3D 180° VR, or the EOS VR Utility software (separately available with a paid subscription) to convert the footage into 3D
IS USM Z lens balances well as a companion on gimbals and rigs. The manufacturer has also announced a collaboration with Adobe to bring Frame.io’s
F2.8 L IS USM Z
Camera to Cloud connectivity to select cameras, starting with the EOS C400 and EOS C80, enabling users to send proxy files directly from the camera.
www.canon.co.uk
BLACKMAGIC’S URSA Cine 17K 65 is a digital film camera that includes a new largeformat 65mm format RGBW 17520x8040 sensor. The larger sensor builds on the technology of the URSA Mini Pro 12K with larger photo-sites leading to 16 stops of dynamic range. The RGBW architecture reportedly provides equal amounts of red, green and blue pixels, which means it is optimised to deliver rich colours at all resolutions. It also features interchangeable PL, LPL and Hasselblad lens mounts, and industry-standard Lemo and Fischer connections. It’s been designed for use in high-end production. The camera has multiple mounting options, while the fold-out monitor has a 5-inch HDR touchscreen on one side and an external colour status LCD on the other.
manufacturer’s lineup is the PYXIS Monitor, a 5-inch LCD adjustable high-brightness monitor designed for the Blackmagic PYXIS
camera. Beyond functioning as an external Cine. When recording,
that these custom buttons can be located by feel, even when using the monitor from the front. Lastly, an update for ATEM Switchers has added support for Visca-over-IP camera control on all ATEM Constellation models. With software 9.6.2, customers can now control up to 100 PTZ cameras via their network using the IP address of the camera. This also adds audio output mapping for all Constellation HD models, as well as new multiview and SuperSource features for HD and 4K models. It also provides support for 30fps and 60fps formats in all HD, UltraHD and 8K standards for ATEM Constellation 8K. Previously available on the 4K and 8K models, the 9.6.2 update adds the ability to customise the built-in
models.
Furthermore, ATEM Constellation HD models now feature audio mapping, allowing users to manually route audio channels from all SDI inputs to embedded audio channels in the SDI video outputs. This means customers can connect a range of audio sources such as microphones and cameras and send them to various embedded audio outputs so they can be recorded on a HyperDeck. If the HyperDeck is set to multichannel audio recording, then they will have all the source audio needed for an audio engineer to completely remix the audio in postproduction.
www.blackmagicdesign.com
PANASONIC CONNECT Europe has released the AW-UB50 and the AW-UB10. Both box-style cameras are based on LUMIX digital interchangeable lens camera technology and are equipped with a host of new functions designed to streamline video production workflows. They are suitable for the rapidly expanding markets of corporate and education video production, as well as broadcasting and live entertainment.
The UB50 features a full-frame MOS sensor and the UB10 features a MFT (Micro 4/3) sensor, and both support all common IP protocols, such as the Panasonic AW control protocol and RTP, RTSP, RTMPS, SRT1 and NDI HX2 transmission protocols. The UB50 has been optimised for cinematic video production, featuring a shallower depth of field than the UB10. Both the UB50 and
single camera head or in combination with the CFA or a camera control unit (CCU), delivering the highest quality footage in any shooting environment.
The manufacturer has also announced a new auto framing feature for its PTZ cameras that delivers natural, high-quality, broadcasting and video production. The application will be offered as a paid Advanced Auto Framing plugin for Panasonic’s Media Production Suite software platform from Q2 2025. In addition, selected auto framing features
free of charge for
AW-UE160W/K PTZ camera via firmware and Media Production Suite updates from Q1 2025. Panasonic has extended NDI (Network Device Interface) support to its 4K integrated PTZ cameras (AW-UE40W/K,
automatically identify the subject and keep them in focus.
The AK-UCX100 studio camera and AK-CFA100 camera fibre adaptor (CFA) have also been released. The two products provide customers with increased production flexibility in studio or live events while delivering the highest quality visuals. The UCX100 allows users to choose their operating style to meet their budget and production challenges. It can operate with a
Recorder AG-CX350. The upgrades, which previously required a paid licence from Vizrt NDI AB, are available via a free firmware update until April 2025, after which the models will ship with NDI pre-activated.
In brief, the manufacturer has also announced that its live production platform Kairos is now compatible with Vizrt’s studio automation solution, Viz Mosart.
eu.connect.panasonic.com
BOLIN HAS introduced the SD530NX Full HD outdoor NDI HX3 PTZ camera, upgraded from the manufacturer’s legacy SD500 Series. It comes equipped with the latest Sony image block that achieves higher visibility by adopting the 8M ultra-highresolution lens, a 4M image sensor and ISP from Sony. Thanks to the new Sony CMOS STARVIS II sensor, the camera is said to produce clear and clean images in extreme low light conditions in colour. The new ICR ON COLOR function enables the camera to capture shots with colour even when the IR
TWO PTZ cameras have recently been introduced by Marshall, one with 20x zoom suitable for mid-sized venues and one with 25x zoom better suited to largeformat installations.
interface includes Visca, Visca-over-IP and Onvif protocols.
While most of the features are the same between the two models, the larger 25x zoom CV625 PTZ camera uses AI facial
The CV620 20x PTZ camera incorporates 3G-SDI, HDMI, USB 3.0 and IP outputs, and also benefits from a 57° field of view and support for up to 1080p/60 resolution. The unit features a high-quality Sony sensor and is available in black and white models to fit varying aesthetics. It also features mic and line-in audio options as well as a range of IP protocols, including RTSP, RTMP, RTMPS, SRT and MPEG-TS. The CV620 also features a panning angle of 170°, tilt rotation of –90° to +90°, and variable pan and tilt and preset speeds. There are also setting controls including focus, gain control, white balance, exposure control and Wide Dynamic Range (WDR). The control
learning to automatically track, follow and frame presenters. It features a highperformance 8MP 1/1.8-inch sensor to capture UHD video, delivering up to 3840x2160 resolution at 60fps with an 83° horizontal angle of view. With more and more venues embarking on streaming, the CV625 also has the ability to stream HEVC directly from the camera over IP (RTSP) or USB-C while simultaneously outputting via SDI and HDMI. It can also stream live to various social channels, such as YouTube, Facebook (Meta) or Twitch while capturing local HDMI content.
www.marshall-usa.com
cut filter is removed. Sony’s proprietary AF algorithm enables zoom and focus at the same time and minimises defocusing.
The camera has a 30x zoom range UHD lens to provide Full HD (1080p60) image quality in tough low light environments.
It can output to 3G-SDI and NDI HX3 and is fully compatible with NDI-enabled hardware and software for live production in outdoor
environments and extreme weather conditions. Additional features include an SFP optical SDI video output, NDI Control, Visca-over-IP, Onvif and Serial Control. The camera supports RTSP, RTMP and SRT protocols. IP and SDI video formats can be set to independent formats for different application uses.
FreeD helps provide all the axis data needed for a Bolin PTZ camera to intelligently and smoothly pan, tilt and zoom while following targeted objects and people. Broadcasters can combine Bolin’s FreeD-enabled PTZ cameras with available, sophisticated software to automate complex camera operations. It is especially useful for virtual live video productions with baseband video feeds and, with Bolin PTZ cameras, with ultra-low latency AV-over-IP streaming.
www.bolintechnology.com
WITH ITS 120W cool white LED engine, 50,000-hour average life expectancy and internal textured glass wheel, ADJ’s compact H20 Two water simulation fixture builds on the success of the original H20. Designed for a variety of temporary and permanent installation applications, the fixture can generate a wide range of effects, from realistic water simulations to psychedelic projections in a selection of vibrant colours. Its internal glass wheel can be set to rotate at variable speeds and the size of the projection can be altered by switching between the supplied 27° and 37° lenses. The effect can also be customised using the manual focus ring, allowing the texture to be brought into sharp focus or blurred out for a more subtle projection. The fixture’s 5-position colour wheel (orange, green, blue, yellow and purple) offers split colours as well as continuous rotation.
The H20 Two can operate in standalone
secondary operation, and the fixture is also compatible with DMX control. In addition, it features 5-pin DMX input and output sockets as well as locking power input and output sockets to enable multiple fixtures to be connected to a single power outlet. www.adj.com
DESIGNED TO enhance the viewing experience in large spaces, Epson’s EB-PQ series of high-brightness 4K business jectors comprises five models – the EB-PQ2008B, EB-PQ2010B, EB-PQ2213B, EB-PQ2216B and EB-PQ2220B – and offers an enhancement to the existing EB-PU WUXGA range. The models house two technologies designed to improve visual output. 4K Crystal Motion technology is said to offer “stunning” image quality, while 3LCD technology delivers superior colour reproduction. The projectors in this series are not only described as energyefficient, but also lightweight, compact and provide extensive connectivity options.
projected maximum 33x33 matrix. Settings in the Multi-Projection menu enable users to set up multiple projectors that work together to display a single unified image. The series also features a new simple blending function as part of its geometry correction abilities that is suited for complex projections on curved surfaces. Each projector in the EB-PQ series is supplied as “body only”, without a lens. This gives users the flexibility to build the most optimal solution for the right application using Epson’s existing range of 4K lenses. The projectors also include a host of features for fast setup and remote monitoring, such as a built-in near-field communication (NFC), and an optional and
and compatibility with
LCD laser installation projector under the Sharp brand. The A201U offers very high brightness with a compact, silent and energy-efficient design, and has been designed for corporate auditoriums, universities, museums and immersive projection mapping.
With almost DC-P3 colour space, the Sharp A201U offers a wide LCD projector colour space and uses an RB laser light source. It produces vivid reds and is said to project lifelike images at 20KLm brightness and WUXGA resolution. The A201U features the latest IP5X-rated sealed optical engine which reportedly protects against even the finest dust particles. Brilliant colour brightness is maintained for long-lasting imaging performance with no filter cleaning. Users benefit from multiple lens options from the
The A201U comes with free tilt and portrait installation capability, geometric adjustment, picture in picture, tiling and camera-based blending. Simplified installation is promoted via an HDBaseTout interface that enables daisy-chaining of multiple projectors via cost-efficient network cables to a single source. The model also supports ProAssist which simplifies the projector setup and corrections of system settings. Additional features include picture adjustment, lens adjustment, geometric correction, blending adjustment, colour uniformity, white balance of several projectors and automatic camera-based adjustment of two projectors, all managed with the help of ProAssist.
www.sharpnecdisplays.eu
function that can save a projected screen test pattern and use it for future displays. With a more precise point correction function, projected images can be fine-tuned by adjusting the needed column or row point by point, using a
According to the manufacturer, they are the most dust-resistant of all currently available Epson products.
www.epson.com
COREPLAY SOLO is a single-channel, 4K@60Hz media player designed for liveoperated applications. With a user interface featuring interactive programme and preview panels, playlists and professional playback controls, the system operates what the company describes as a Program – Preview –Take concept. This allows operators to prepare and fine-tune the media on the preview without disrupting playback on the programme feed, making the system safe to operate live and
enabling operators to make changes to the show even during an event. The CorePlay Solo natively supports a variety of different codecs, including h.264, h.265/HEVC, AWX, as well as non-standard resolutions, and offers multichannel audio processing. Additionally, while the CorePlay Solo can drive the display directly, it also acts as a complementary product to Analog Way presentation switchers.
www.analogway.com
AJA HAS extended its Diskover Media Edition plugin network for PixitMedia’s Ngenea data orchestration solution and Spectra Logic’s RioBroker, a media management and archiving platform, alongside a v2.3 software update. The latest developments are said to give AJA Diskover Media Edition users more flexibility to work with a broader range of toolsets and data catalogues with greater efficiency, allowing them to make more informed decisions about the data that lives on their local, remote and cloud storage.
A plugin from AJA and PixitMedia provides direct access to the data orchestrator in the Ngenea Data Acceleration Platform within the Diskover Media Edition UI. The integration enables users to view data across their storage in Diskover Media Edition and then transfer it to the appropriate destinations using Ngenea, a secure solution for transporting data to/from globally distributed cloud, object and tape storage, and traditional network-attached storage (NAS), without leaving the Diskover Media Edition UI. The RioBroker plugin ensures customers can view, access and make more informed decisions about the content in their archives (object, tape and cloud). It also helps drive media retention appropriate
storage. Designed to operate standalone or as part of a Panopto or Kaltura installation, the LC300 supports remote management and control, enabling organisations to centralise media production and distribution. For maximum flexibility, video inputs include IP, NDI, SDI and HDMI cameras and USB webcams, while the system supports seven channels of audio. Users have multiple control options. First, the unit is compatible with the LC-RC01 remote control panel. Both this device and the front-mounted buttons on
IN RESPONSE to customer demand, Matrox Video has announced Unreal Engine plugin support for its DSX LE and X.mio families of SDI and ST 2110 NIC cards. The company’s 12G-SDI cards can support up to four 12G inputs and four 12G outputs. The ST 2110 NIC cards provide 25GbE and 100GbE connections that can support up to eight channels of UHD inputs and outputs or two channels of 8K. The company says the move provides OEMs with the ability to easily integrate SDI and ST 2110, enabling high-
Plugin support covers Matrox’s DSX LE5 and DSX LE6 Series, as well as the X.mio5 12G-SDI and SMPTE ST 2110 network interface controller (NIC) cards. When combined with the Unreal Engine plugin, the company says Matrox Video X.mio5 video boards deliver superior quality when processing interlaced video inputs and outputs. This added feature ensures that the Unreal Engine receives progressive video inputs, using Matrox Video’s onboard broadcast-quality motion adaptive de-interlacer.
the unit itself allow for simple control to start and stop recording and streaming. Users can add an HDMI monitor, keyboard and mouse or connect to the unit over the network for access to the full visual interface and creative options. The LC300 supports the Lumens Deployment Tool 2.0 which delivers network monitoring, control and management over multiple media processors and cameras on the IP network.
www.mylumens.com
time-consuming process of restoring these files to disk and scanning them. With the integration, AJA Diskover Media Edition mines the RioBroker archive database for file metadata and presents it to the user, providing extensive insight into what lies within their modern-day archives. Meanwhile, the manufacturer has also announced a preview of Virtual KONA, a softwaredefined, virtualised video capture/playback solution that is being developed in collaboration with Amazon Web Services (AWS). Virtual KONA integrates the AJA NTV2 Software Development Kit (SDK), which is used by developers to build high-quality workflow solutions with AJA video I/O cards, together with AWS Cloud Digital Interface (CDI). AWS CDI is a network technology for transporting high-quality, uncompressed video inside the cloud with high reliability and latency as low as 8ms. Combined, the technologies break down the barriers between on-premises and cloud for media production, allowing third-party developers to build solutions across both environments for a range of applications
In two places at once with Titan
DELIVERING THE flexibility of programming looks on the fly, without having to keep going back and forth from the stage to the console, Avolites’ upgraded Titan remote app has been given a significant upgrade. Working alongside Avolites lighting consoles running Titan software, the upgrade delivers a raft of additional functionality and means that any Avolites lighting console can be remote-controlled over Wi-Fi from any Android or iOS mobile device. The update enables users to connect to a console and select and control fixtures, as well as change or modify fixture attributes, such as pan/tilt. It also provides the functionality to update, create palettes and apply palettes,
record and play cues, issue command-style fixture selection and intensity control, quick Sketch Legends and view DMX address patches.
Boasting optimised screen layouts and the ability to discover the console manually using its IP address, multiple remote devices can be connected to the console allowing an operator to continue working on it while another user programmes or updates palettes via the remote. Avolites says this is particularly useful when the front of house view is obscured or a significant distance away from the lighting rig or stage, or in tricky outdoor locations.
www.avolites.com
SPECIALLY DESIGNED for use in large spaces, the Veloce Profile is the second ultra-equipped luminaire in Ayrton’s Ultimate family and has an IP65 rating for use in all conditions, including saline-heavy environments. The Veloce Profile features a sealed monoblock 850W high-efficiency LED module that is calibrated at 6,500K and offers a luminous flux of 43,000 lumens with optimum positioning on the black body to achieve better light neutrality. Meanwhile, its proprietary 13-lens optical system offers a zoom ratio of 13:1 and a zoom range from 4–52°, while its 180mm front lens is capable of delivering an ultra-intensive 4° beam.
reproduction, the Veloce Profile also offers adjustment of the colour rendering index from 70–86.
Its framing module makes it possible to isolate any object thanks to the surgical positioning of each shutter blade over 100% of the surface with ±90° rotation. A fast 15-blade iris diaphragm with an aperture range of 15–100% optimises the beam at tight angles, and the luminaire comes with infinite continuous rotation on both pan and tilt axes as standard. Weighing just 40.5kg, the Veloce Profile also features two superimposed rotating gobo wheels, each
Like all the luminaires in Ayrton’s Ultimate range, the Veloce Profile adopts a CMY colour mixing system with ultra-fast high-definition discs that enable precise colour temperature adjustment from 2,700–6,500K, while a seven-position colour wheel with special filters completes the palette of colour creation tools. For specific applications requiring perfect colour
and two rotatable prisms that can be combined, including a circular 5-facet prism and a linear 4-facet prism for creating 3D effects.
Comprising of aluminium and steel metal plates, with a die-cast composite alloy base, the Ultimate is housed in an IP65 fireretardant ABS moulded cover.
www.ayrton.eu
ETC HAS released an RJ45 to XLR Adapter for all Source 4WRD fixtures, designed for users who are converting their incandescent Source Four luminaires to LEDs with ETC’s Source 4WRD family of options. The RJ45 to XLR Adapter allows the connection of DMX in and DMX thru using an XLR connector instead of an RJ45. This ensures these fixtures can expand into even more venues than before, letting them use their normal DMX cable stock. Customers can connect
1.5W
up to 32 fixtures in a single run. The adapter is small enough to let the fixture swing through its yoke and focus in a straight-down position. The RJ45 to XLR Adapter also works with ETC’s PAR and PARNel adapters. Designed in an eight-cell, fanned format, the SolaPix Fan 8 extends the company’s SolaPix family with a range of new design options. In keeping with the rest of the SolaPix range, the Fan 8 features RGBW colour mixing, tuned colour temperature from 2,800–8,000K and 4.5–60° zoom, as well as ETC’s patented HaloGraphic Pixel Definition. The SolaPix Fan 8 adds individual pixel control, paired with the company’s FleX Effects Engine for quick and accessible macros. ETC says its unique fan form factor can create razor sharp beams as well as elegant washes and features infinite pan for even more scenic
The manufacturer has also announced a new patch release for the Hog 4 OS v4.2.1 that addresses a variety of issues discovered in the field, including fixes with importing v3.x show files directly into v4.2.1 software, a
deliver an output exceeding while a marine-grade coating adds additional protection for harsher environments. Meanwhile, fanless convection cooling promotes silent operation, and an integrated accessory slot accommodates optional diffusion filters, ND filters and other optics.
Art-Net, sACN and Kling-Net protocols, and also boast proprietary Aria x2 wireless device management for simplified system setup and maintenance.
www.elationlighting.com
Audinate’s audio product marketing manager Greg Kopchinski explains how platforms like Dante can help take the hassle out of important media encryption
ENCRYPTION HAS EXISTED FOR THOUSANDS OF YEARS, stretching back to ancient Egypt. At its most basic, encryption is the process of transforming information or data so that only the parties with the key to unscramble it can access it. Today, encryption is used in the transfer of communication over networks and the internet for security and commerce.
As encryption schemes became increasingly sophisticated, so too did the means to crack the scheme, often by brute computing force. Modern encryption standards use stronger key sizes of (at least) 128- or 256-bits, meaning there are 2128 and 2256 potential secret keys, respectively, to prevent bad actors from cracking the algorithm. The possible number of keys in a 256-bit encryption scheme is a number with 78 digits – one so large that it’s exponentially greater than the number of atoms in the observable universe.
The purpose of encrypting AV media is the same as that of other applications: ensuring the confidentiality of information as it travels across the AV network. Since data may be visible on the internet, sensitive information such as passwords and personal communication may be exposed to potential interceptors. If the information is not encoded, those interceptors can freely read, watch or listen to content not intended for them, which can have disastrous implications. However, it’s essential to recognise that robust cyber security comprises several aspects, including user authentication, firewalls, network segmentation, transaction logging (traceability) and more. Encryption is an important piece of the security hierarchy, but all facets of network security are vital to protect private information from being exposed.
An intro to media encryption
End-to-end media encryption is a network transport method where the content is encrypted on the sending device and only decrypted on the receiving device. Media encryption is crucial for AVoIP networks that transport sensitive information, such
access. For example, encrypting audio captured by an AoIP conference room microphone and decrypting it at the networked loudspeaker or conference system prevents the audio from being intelligible if it is purposely or maliciously routed to another network device.
A proven and trusted encryption method is AES-256 (Advanced Encryption Standard with a 256-bit key). This key size provides a high level of security and is considered robust against brute-force attacks, where an attacker tries all possible keys until finding the correct one. It is widely used across various applications due to its strong security properties and efficiency.
Evolving AV use cases for media encryption
Any security or data privacy breach can severely damage an institution’s reputation, leading to a loss of customer trust and a potential decline in business. Organisations in financial, healthcare and government sectors have heightened requirements for cyber security due to the sensitive nature of the data they handle, the regulatory environment and the potential impact of security breaches. Non-compliance can result in hefty fines and legal repercussions, and all are top targets for cyber threats. Beyond the monetary losses from theft, the financial sector is subject to stringent regulations and standards such as PCI-DSS, GDPR and various national laws. Cyberattacks on healthcare systems can disrupt critical medical services and endanger patient lives. Governments handle classified information critical to national security. Unauthorised access to such data can have far-reaching implications, including threats to national security and international relations.
Interoperability and, by extension, encryption between AV equipment from different manufacturers can be very challenging. A classic fix for both interoperability and encryption challenges
downside is that the complete solution is limited to that one brand and the available options, which may not be well-suited to every installation.
Integrating secure AV equipment with encryption between two or more manufacturers can make key management exceptionally challenging. The encryption keys are critical to the process – they’re the secret decoder rings. AES-256 uses the same key for both encryption and decryption, which must be kept secret to maintain the security of the encrypted data. In a multi-manufacturer AV system, identifying the “key master” and synchronising keys is problematic at best, with many solutions requiring manual key management and synchronisation. An alternative solution for multi-manufacturer interoperability and encoding is having a trusted third party develop a fully supported, end-to-end interoperability and encryption solution like Dante. Third-party solutions take the problem of key management out of the hands of manufacturers.
Furthermore, keys – like passwords – must be updated regularly to maintain security, and manually updating them can be time-consuming and subject to human error. With manufacturer-agnostic third-party solutions, keys can be updated or “rolled” on demand and automatically deployed to endpoints through a central control platform rather than undertaking the more convoluted process of individually updating endpoints. By having encryption managed by a platform like Dante instead of equipment manufacturers, integrators can continue building systems with their products of choice, secure in the knowledge that they won’t have to troubleshoot multiple endpoints to get signals encrypted or decrypted successfully. It just works in Dante.
While many companies are self-motivated to protect their digital assets, governmental cyber regulations have recently been introduced to protect user data. Manufacturers and integrators have to adhere to these emerging regulations, so more end-toend encrypted solutions will be required in the near future. That said, not every system needs encryption, so the most robust outcome will likely include encryption capabilities in products that can be enabled through a network management system on a device-by-device basis. Media encryption will be crucial for securing and safeguarding information shared in meeting rooms and conference spaces with the next generation of AVoIP installations.
www.audinate.com
OLA MELZIG
PRODUCTION MANAGER
M&M PRODUCTION MANAGEMENT
I just love the new generation of the Artist user interfaces. The SmartPanel‘s intuitive workflow and its very visual layout are simply fantastic.
I can customize it in any way I need, which is absolutely crucial for the big live events I typically work on.“
ARTIST INTERCOM
Professional and reliable live communications. Seamless integration of Riedel‘s SmartPanel and Bolero wireless intercom. Easily scaling from 16 to 1024 ports with flexible licensing.
