Pro AVL Asia July-August 2019 by Blank Canvas Publishing Ltd

LIVE SOUND LIGHTING RECORDING INSTALLATION AV BROADCAST POSTPRODUCTION July–August 2019

GAME ON

Suzhou’s Olympic Sports Centre

INFOCOMM SEA DEBUTS AMPLIFYING MUMBAI’S NCPA Singapore: MICA (P) 031/06/2019 PPS 1604/05/2013(022953)

WHAT’S NEXT FOR AVoIP? VAS LIVE HOUSE

SHARING THE ART OF SOUND

Yamaha staff love to share their knowledge, experience and passion for sound and for professional audio systems. Thatâ&#x20AC;&#x2122;s why we have been proactive in developing and maintaining education and training programs for our customers since the early 1990s. Originating in Japan, Yamaha has now established training facilities around the world, reaching over 100,000 people in more than 50 countries. If you work with sound and have a particular technical demand, Yamaha is likely to have a course tailored for you, whether you are a volunteer or a seasoned professional. Feel free to share a little of your time with us: search for available Audioversity seminars at http://www.yamahaproaudio.com/

CONTENTS

Volume 18 Issue Four July–August 2019

NEWS NEWS Dante goes software only, APB joins Blank Canvas

EDUCATION K-academy tours China

DISTRIBUTION M3PA targets performance audio in Singapore

APPOINTMENTS Powersoft bolsters APAC team

NEW PRODUCTS The industry’s most comprehensive product news

FEATURES IN THE ROUND Audio engineer Simon Honywill on his latest production

PERFORMANCE PIECE Meyer Sound revamps Mumbai’s NCPA

COVER: GOING FOR GOLD China takes Olympic events to a new level

SETTING THE STAGE A new venue/studio complex opens in Shanghai

HEART OF GLASS Funktion-One adorns a rooftop bar in Taipei

100

COMING HOME Postproduction firm Maxsfilm adds Dolby 5.1 HE

102

INTERVIEW Mipro president Solomon Chang talks tactics

104

THE DEMO MAKES THE SALE We visit Bangkok’s Vintage Studio

106

BUSINESS LETTER FROM AMERICA Dan Daley on the shift from physical to virtual

Editor’s note Though located in China and India, respectively, our two lead features this issue are truly international affairs. Our cover story, the Suzhou Olympic Sports Centre, has been designed by German architects, with acoustical inspiration taken from the UK’s London Olympic Stadium. The main speaker systems throughout, from American manufacturer Electro-Voice, were installed by a local systems integration company from Huangzhou. Ultimately, it will be used to further the sporting careers of many Chinese residents in the city, and you can read about it on p94. Turning to India, we cover the NCPA in Mumbai (p90) which has just been refurbished with input from London-based theatrical consultant, Richard Nowell, with systems designed by Meyer Sound in the US and provided by Indian distributor, Sun Infonet. If you want to trace the NCPA’s history back further, the oldest theatre in the venue was originally designed in the late 1970s by eminent American acoustician, Cyril Harris, who had the luxury of spending months in the Indian city to better understand the intricacies of the country’s classical dance and music performances. Both main theatres are now ready to host an increasing number of international performances, as well as a continuing plethora of Indian talent. Times have changed since Harris’ cultural pilgrimage and, although we live in a much faster world, the interconnectedness and global nature of our industry has got stronger over the years. We have a lot to learn from each other’s experiences and culture, and the results are evident in some of the projects we’re lucky enough to visit. We hope you enjoy reading about them.

108

LETTER FROM EUROPE Phil Ward on championing diversity in the industry 108

Email: cmoss@proavl-asia.com

COMPANY PROFILE Allen & Heath turns 50 under new leadership

110

SHOW REVIEW Guangzhou’s GETshow reviewed

112

SHOW REVIEW InfoComm SEA starts on the right foot

114

SHOW REVIEW KOBA goes beyond broadcasting

118

Richard Lawn:

Sue Gould:

Ledetta Asfa-Wossen:

SHOW REVIEW Palm Expo India expands vertical markets

120

T: +44 1892 676280

F: +44 1892 676282

SHOW REVIEW InfoComm Orlando stimulates creativity

122

TECHNOLOGY Maintaining loudspeaker standards

126

R&D The making of Shure’s TwinPlex series

128

ANALYSIS Kramer asks what’s next for AVoIP?

130

inside

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COVER: Suzhou Olympic Sports Centre LICENCES: Singapore: MICA (P) 031/06/2019; Malaysia PPS 1604/05/2013 (022953) All rights reserved. No part of this magazine may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or by any information storage and retrieval system, without prior permission in writing from the copyright owners.

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102

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

@ProAVLAsiaMagazine July–August 2019 PRO AVL ASIA 3

NEWS

Shure initiates raid on counterfeiter Dante goes software only with QSC CHINA: Shure has revealed details WORLD: of a policeAudinate raid thathas wasintroduced recently two new software-based undertaken at the factoryDante of Enping platforms – Dante Embedded Soundpu Electronics Equipment, Platform Dante Application a Chineseand manufacturer of Library. Dante Embedded Platform counterfeit products that also allows manufacturers to add full operated under the name Voxpu Dante functionality in software Electronics Equipment. The raid running on enforcement Linux for x86action, and ARM and onsite processors. Having by committed which was initiated Shure, to partnering on the development working closely with the Enping of cross-platform technologies Public Security Bureau (PSB) with QSCEnping back at ISE 2019, and the Administration Audinate’s of Dante of Industry introduction and Commerce (AIC), Embedded Platformmicrophones has enabled uncovered wireless QSC to announce Software-based and receivers, consoles, amplifiers Dante for the Q-Sys and processors that ecosystem. fraudulently The Dante carried the Application branding of Library, Sennheiser, meanwhile, software Yamaha andallows Harman, as well as developers to integrate Dante Shure. Soundpu had previously been fined in August 2018 by the Enping AIC after counterfeit Shure wireless microphones were found at its factory premises during leading broadcast a APAC: routineAsia’s market investigation magazine, APB, carried out inwidely April known 2018. as Following has announced that Shure it will continue the more recent raid, has its nextthe chapter as of part of the started process criminal Blank Canvas Publishing arm at prosecution against the owner and BroadcastAsia. managers of Soundpu due to its In welcoming Asia-Pacific Broadcasting (APB) into its portfolio, Richard Lawn, co-founder and director of Blank Canvas Publishing, SOUTH EAST AVIXA noted that theASIA: magazine has been recently concluded a six-citysector tour serving the APAC broadcast in promote forSouth more East than Asia threetodecades – with the overInfoComm two of theSEA threeexhibition being ledinby Bangkok. to take place its currentScheduled publisher and editorial at the Bangkok Trade director, AndrewInternational Yeo. and Exhibition Centre between Lawn said: ‘I’ve known Andrew 15–17 May, shortly members werehe invited since 1997 before to learnthe more about show and bought title fromthe Miller the seminars thattime, will be taking Freeman. At that I was place. working for Miller Freeman. And CEO David Labuskes kicked off our paths crossed again as our the session marking the concluding London-based operation was in date at the Marriott Hotel in the process of setting up Pro

functionality directly into their PC and Mac applications. ‘The AV industry is shifting from bespoke, purpose-built AV equipment to software-based solutions running on standard computing platforms,’ stated Joshua Rush, SVP, marketing and products at Audinate. ‘It was natural to partner with QSC, one of the leaders of this software-based strategy, to jointly develop the first softwarebased Dante solution.’ QSC states that as par t of its strategic technology par tnership with Audinate, Q-Sys feature licences will enable native Dante networked audio integration without the need for additional

hardware I/O or external configuration software, taking advantage of robust functionality such as device discover y, synchronisation, control and management for Dante – directly within Q-Sys Designer software. Following the release, all new CEO. ‘Shure is deeply committed Q-Sys Core processors will ship to protecting customers with a small our setvalued of Dante audio from low-quality counterfeits channels enabled at no extra and ensuring that our customers cost. New tiered feature licences experience only the quality of a genuine Shure product every time they purchase a product bearing the Shure name.’ In addition, Sennheiser, Yamaha and Harman will all be assisting Shure with the forthcoming criminal prosecution of Soundpu. ‘Brand and product piracy is a problem that demands to be taken seriously,’ said Dr Andreas

have been introduced to enable Q-Sys system users to scale Dante integration capabilities based on their specific installation needs and Core processor capabilities. ‘The Q-Sys ecosystem has always taken an open and agnostic approach to audio, and our par tnership with Audinate is an extension of this philosophy as we offer a truly unique, software-based implementation of Dante to our customers,’ explained Trent Wagner, QSC’s Sennheiser, co-CEO of Sennheiser. Q-Sys product manager. ‘By ‘Just as in audio offering a other highlysectors, scalable companiestoare affected byDante the approach integrating trademark piracy that audio withand the product Q-Sys ecosystem, impacts brands that manufacture high-value products.’ ‘Counterfeit products do not just exasperate customers by delivering a bad experience that its stable well-respected trade does not of reflect the promise of the magazines. brand,’ added Daniel Sennheiser, ‘When Andrewother recently Sennheiser’s co-CEO. ‘These approached me to take cheap counterfeits alsoonfall short in stewardship for the I wascases both terms of quality andtitle, in some shocked and so. honoured. Inheriting dangerously This damages a marketing-leading title with a 36year heritage demands enormous respect,’ said Lawn. Yeo revealed: ‘Editec International, Singapore with overview of the the publisher ofan APB, has been not-for-profit organisation’s tracking the performance of aims Blankin getting to better understand Canvas people Publishing for many years. AV technology. The Impact AV While I enjoy journalism andofthe Technology Modern Business publishing ofinAPB, the time has talk how businesses comecentred for meon to hand over the need to better understand and magazine to a younger, experienced value AV as antoasset why AV publisher and keep and my promise investments drive businesses to my dear wife who has supported forwards. Thethrough discussion the company thickwas and backed up with AVIXA’s thin. I promised her thatrespected I will retire, MOAR statistics compiled from or at least semi-retire, at age 65, numerous consumer, and then parlayed with her end-user to 70, then AV 72 provider and nowsurveys. I am 73!’

the industry as a whole and we QSC meets I/O against integration welcome jointthe action needs of more installations.’ violations in order to better protect Audinate’s Dante Embedded consumers.’ Platform is designed for OEMs Takuya Nakata, president and and will offer two optionsofficer for at representative executive manufacturers: an SDK withthat Yamaha Corporation, noted validation tools aid OEMs Yamaha has longwill taken measures in qualifying existingproducts, x86 and against counterfeit ARM-based in products for Dante particularly China. ‘We have done performance requirements. so because we firmly believeFor that new products development, these activitiesunder will not only protect Audinate also provide complete our valuedwill customers and end reference for counterfeits popular ARM users fromdesigns low-quality SoCalso chipsets, as the Analog but lead tosuch an improvement of Devices ADSP-SC589 andbrands,’ NXP reliability and trust in our i.MX 8M ‘We Miniare QuadLite. he said. grateful for the opportunity to work together with www.audinate.com Shure, Sennheiser and Harman in www.qsc.com order to accelerate such activities.’ ‘Our collective intellectual property has been compromised, and we greatly appreciate the cooperation of Sennheiser, Yamaha, and Harman in this matter,’ concluded YeoSchyvinck. added: ‘In‘We anyencourage alliance or Mr acquisition, both must be customers to buyparties all of these on the same wavelength, have professional audio products only similar vision anddealers.’ mission and, from authorised equally important, synergy. I www.shure.com firmly believe that under Richard’s stewardship, APB will be able to move to the next level and, in the world of Instagram, go digital, go social.’ InfoComm Asia executive director With the recently expanded Pro Richard Tanteam then went on toCanvas, provide AVL Digital at Blank an explanation AVIXA hasthe plans are afooton towhy extend both selected as the to print andBangkok digital reach of city APB. host long-awaited exhibition. In ‘Thethe APB team is looking plan addition 11,000m forward to a being a part2 floor of the boasting over 120 exhibitors, the Blank Canvas family,’ said Yeo, summit will also include industry adding that he would stay on as and technology special a consultant forforums, a year or two to conferences, seminars and ensure APB’sAVIXA heritage continues technical tours. to flourish.

Blank Canvas welcomes APB into its portfolio A counterfeit Shure mic

continued counterfeiting activities and disregard for intellectual property rights. ‘Counterfeiting is an ongoing problem for the audio industry, and we remain vigilant in our anticounterfeiting efforts,’ said Chris Schyvinck, Shure president and

AVIXA commences InfoComm SEA countdown Sound News Asia to be printed in over the past two decades is an Singapore. understatement.’ ‘Having set up a great team, Blank Canvas produces a range Andrew has consistently of pro audio, video and lighting delivered a highly valued regional titles including Pro AVL Asia (first B2B magazine in a dynamic launched at BroadcastAsia in 2002) marketplace. To say I have Pro AVL MEA and Worship AVL and L–R: A successful tour is over for AVIXA’s Jonathan Seller, David respected and his achievements is ideally placed to absorb APB into Labuskes Terry Friesenborg

apb-news.com www.avixa.org www.proavl-asia.com www.infocomm-sea.com

smart audio engineers use

1/4 Horizontal location - studio - live Distributed by CDA Pro-Audio (Asia) info@cda-proaudio.com

July–August 2019 4 PRO AVL ASIA May–June 2019

www.cda-proaudio.com

CEDAR Audio Ltd, Cambridge, UK info@cedaraudio.com

www.cedaraudio.com

THE NEXT STAGE IN SOUND.

Through sweat, noise, and heavy wear, the TwinPlex™ subminiature lavalier stands up to the toughest conditions to make every word a clear statement of quality. www.shureasia.com/go/twinplex ©2019 Shure Asia Limited. See shure.com/trademarks.

NEWS: BUSINESS

RCF joins Milan workgroup WORLD: RCF is the latest manufacturer to join the Avnu Alliance’s pro AV segment, supporting the Milan networking protocol. RCF joins a growing group of manufacturers – including loudspeaker rivals Adamson, d&b, L-Acoustics, Meyer Sound and PreSonus – to pledge its allegiance to the Milan workgroup in driving Milan’s market growth and to ultimately deliver an interoperable pro audio networked ecosystem. Milan is a standards-based, user-driven deterministic network protocol based on Audio Video Bridging (AVB) for professional media to ensure devices will

RCF speakers are installed at the Whisky a Go Go in Hollywood work together. It has been created and is maintained by the

various manufacturers in the Avnu Alliance.

‘We have been following the Milan work that has been ongoing within the Avnu Alliance from a close distance for the past year and we are thrilled to announce that we’re joining the group and our intention to add Milan connectivity to our product line,’ said Umberto Zanghieri, RCF R&D manager. ‘With our philosophy of utilising the latest technologies as required by our customer base, and to expand our professional audio products offering, we decided to join the Milan initiative within Avnu.’ John McMahon, the Avnu Alliance’s pro AV segment chair,

is excited to welcome RCF as the newest pro AV segment and Milan workgroup member. ‘RCF is renowned in the industr y for being a long-time innovator in professional audio products and technology, a per fect fit for contributing to the goals and plans of the Milan workgroup and Avnu Alliance as a whole,’ he commented. ‘We look for ward to their valuable industr y insight and contribution in helping us continue to make Milan together.’ www.avnu.org/milan www.rcf.it

Sovico Pro fills the gaps

Sovico Pro’s Jay Han during a video interview with Pro AVL Asia KOREA: Held during the Korean broadcasting show (KOBA), pro audio manufacturer and distributor Sovico once again staged its own presentation – Sovico Spring – two subway stops away from the COEX at Amoris Hall, adjacent to Yeoksam station. Now in its fourth year, the private RSVP event welcomed 250 special buyers and guests,

which included demonstrations, presentations and keynote speeches together with a buffet in the Gangnam-gu venue. Sovico Pro’s CEO Jay Han unveiled the company’s latest products that complete and round off its portfolio of SAC loudspeaker products. ‘I had a vision in 2003 to create a premium loudspeaker system and

now I am proud to say, we have achieved that goal.’ Currently consisting of 12- and 15-inch active models together with an 18-inch subwoofer, the AP series incorporates B&C transducers, Eighteen Sound 60° x 40° horns and Pascal amplifier modules. The 700W RMS-rated AP12 and 800W RMS-rated AP15 Baltic birch cabinets operate within a frequency range between 45Hz to 20kHz (± 3dB). The customised 2-inch compression driver is characterised by a 4-inch voice coil that can operate down to 500Hz. The power amplification units also include 64-bit/96kHz DSP for external monitoring and control. In addition, the DNL series has been strengthened with the new DNL12P and DNL15P premium point source loudspeakers. Differentiating themselves from the current lineup of DNL models, the 12- and 15-inch models are

powered versions. The entr ylevel DH series has also been activated with the addition of a powered 12-inch speaker and 18-inch subwoofer. Finally, Han also announced that secondgeneration SAC power amplifiers and control matrix units were currently in development. Having previously showcased other leading brands represented by Sovico in South Korea, the foyer was this year adorned with SAC exhibits. Along one wall were cut away sections of the current speaker models to depict the craftsmanship and components within. On another, the completed DH, DNL, PLA and AP loudspeaker series were showcased, while another wall featured the D2.0, 2.1 and 2.2 Class-D and S Series amplifiers together with products from the commercial catalogue. ‘On one wall we are showing the platform and, on the other, the solution,’ declared Han at the close of the event when referring

to the deconstructed and finished speaker cabinets. ‘We have demonstrated over the past three years that Sovico is ready to provide brand-new products to market very quickly. They are being made the way we know – and that is now our marketing slogan. Having added the AP series, we have fulfilled the road map we embarked upon several years ago. These latest additions set the SAC brand apart in terms of quality and price performance. I call them idiot-proof, because if a user selects the wrong DSP setting on these models, they still sound good.’ ‘This is the fourth consecutive year we have staged this event – it’s a big investment for us, but the reaction to the SAC and Matrix brands has been very positive.’ www.sac-audio.com www.sovico.co.kr www.sovicopro.com

Absen named one of China’s best-managed companies CHINA: LED display specialist, Absen, has been named one of China’s Best Managed Companies (BMC) as part of Deloitte’s BMC programme. The company was recently awarded for demonstrating ‘excellent business management’ at a gala dinner of the inaugural BMC Awards in China. The BMC programme, first launched in 1993, is a global initiative to identify and recognise private companies with outstanding business performance. China’s BMC programme was initiated in August 2018 by Deloitte China in cooperation with Bank of

Singapore, the Business School of Hong Kong University of Science and Technology, Harvard Business Review and the Federation of Shenzhen Commerce. Absen was selected as one of 23 of China’s best-managed companies, narrowed down from a list of over 80 candidates in different industries around the country for the very first time. Companies including Skyworth and BBK Electronics were also on the list. Commenting on the award, CFO of Absen, Chelsea Huang said: ‘The BMC Awards examine ever y

6 PRO AVL ASIA July–August 2019

facet of an organisation and we are ver y proud that Absen fulfils all of the requirements. This prestigious award is a fantastic recognition for the overall success of Absen, based on the clear strategic direction and organisational structure, financial per formance, strong risk management ability and inspiring corporate culture. This award will boost our confidence in continuing to improve our business, as well as our products and ser vices.’ Absen CFO Chelsea Huang receiving the award

www.absen.com

NEWS: BUSINESS

Avision invests in Martin Audio invests in APAC with Generation AV Adamson’s S Series

APAC: Martin Audio has appointed Singapore-based Generation AV to handle its sales strategies, account management and technical support duties in the Asia Pacific region. Generation AV is a new company set up by audio veteran David McKinney. ‘David McKinney and his new operation will serve as a great asset to the installation, entertainment and production communities in Asia,’ said Martin Audio managing director, Dom Harter. ‘He is someone I’ve known since college, and we’ve worked together at Harman. He is an accomplished communicator with a strong understanding of the technology, the market and the people. I am confident he and his team will apply their skills and experience to provide our customers

David McKinney with excellent service and help to drive the Martin Audio brand to new heights in the region. As the Martin Audio brand grows rapidly it’s essential to have on-the-ground support in the territory, as we do in America and Europe, to better serve

InfoComm SEA gains 2020 vision THAILAND: As the Singaporebased subsidiary of AVIXA (Audiovisual and Integrated

Experience Association) made final preparations on the eve of its 2019 InfoComm SEA exhibition,

our customer needs. I’m delighted to have Dave and Generation AV on board to facilitate this.’ McKinney serves as Generation AV’s managing director. ‘We are very proud to be partnering with Martin Audio,’ he said. ‘I have been impressed with how Dom has transformed Martin Audio into one of the global market leaders and I am excited to be part of this journey in Asia where there is great potential. Generation AV is set up with technical application support at the core of the business. This will be our focus with Martin Audio. I look forward to working closely with the team, and with all the Martin Audio distributors and partners in Asia.’ With Generation AV taking responsibility for Martin Audio in Asia, the manufacturer’s APAC account manager, Andy Duffield, has been transferred to Europe, where he’ll manage several key territories including Germany, France and Spain. ‘I’m delighted to have helped grow Asia sales to facilitate the need for a more active local support there,’ Duffield commented. ‘I’m looking forward to this fresh challenge and opportunity in Europe and will strive to drive the Martin Audio brand to even higher levels.’

INDIA: Avision Media has become the latest company in India to invest in Adamson’s S Series equipment. The purchase was handled by the manufacturer’s local distributor, Sonotone. ‘Adamson is reputed all over the world and boasts an excellent set of products,’ commented Mahesh Martal from Avision. ‘We’re proud to join the Adamson network.’ Based in Mumbai, the audio rental company hopes to diversify and widen its customer base through the purchase of eight S10 full-range line array cabinets and

www.martin-audio.com

The Avision Media team

the organiser announced the dates for its 2020 event. The 2020 show will be held once again at Bangkok’s International Trade & Exhibition Centre (BITEC) from 27–29 May and the current show floor will migrate from Hall 98 to Halls 100 and 101. While the

six S119 subwoofers. These will be powered by a pair of Lab.gruppen PLM20K44 amplifiers. ‘The S10 is a great-sounding audio system that allows us to differentiate from the competition,’ says Prashant Sakalkar of Avision. ‘Avision is known for delivering turnkey solutions to their clients and we’re elated to count them as a great partner for the Adamson brand,’ concluded Karan Nagpal, Sonotone MD. www.adamsonsystems.com www.sonotone.com

AV and Integrated Experience Technologies, the summit that runs concurrently will provide extensive learning oppor tunities. For full video coverage of InfoComm SEA 2019, please visit www.proavl-asia.com/videos exhibition will showcase pro

www.infocomm-sea.com

1/4 PAGE MUSE P

IWAC220P

AC12.3P

www.verityaudio.fr Headquarters: VERITY AUDIO SARL (253 Rue Saint-Honore,75001 Paris France.) Email: Sales@verityaudio.fr Tel: (0033)144-550-981 Global Sales and Logistics Office: Sae audio Co.,Ltd.(P.R. China) Email:Bill@saechina.com Tel:+86-757-8512-9008

8 PRO AVL ASIA July–August 2019 verityAudio_IWAC220P_MUSEP.indd 1

Two-Way Active Loudspeaker

Dual 10 Inch Two-Way Active Line Array System

Steerable Vertical Coverage Angle Active Column

17/6/19 11:07 AM

NEWS: BUSINESS

Kinesys joins the TAIT group

WORLD: Motion control technology specialist Kinesys has joined the TAIT group of companies. Formerly known as TAIT Towers, TAIT has been designing, constructing and delivering live event solutions around the world since 1978. Kinesys, meanwhile, produces technology for stage automation, such as wireless load cells, electric chain hoists and software for moving set pieces and lighting rigs.

AIMS explores the impact of MoIP on AV WORLD: The Alliance for IP Media Solutions (AIMS) has announced the release of a new positioning paper titled: AV Over IP: It’s Real, and It’s Transformational. The white paper takes a deeper look at the impact of the media-over-IP (MoIP) movement on the professional AV and installed systems markets. A key focus of AIMS is to promote a single set of common, ubiquitous protocols for interoperability over IP in the pro AV industry, based on the SMPTE ST 2110 standards suite for video, audio and data transport. ‘The pro AV industry is up against the same issues that the broadcast industry faced about three years ago – the inevitability of a transition to IP infrastructures and a decision as to whether to adopt proprietary technologies and closed systems, or to unite behind an open standards approach,’ said David Chiappini, chair of the AIMS Pro AV Working Group, which launched in December 2018. ‘At AIMS, we strongly believe that a single standardised interface for IP is essential for the industry to thrive. An IP technology infrastructure based on open standards provides the industry with the maximum agility and flexibility to adjust business models, capitalise on new revenue opportunities, and add new capabilities and services without having to constantly rebuild workflows.’ The document can be downloaded at www.aimsallianceorg/white-papers

The Kinesys team TAIT and Kinesys will now link their automation technologies

so that Kinesys products can be integrated within TAIT shows and

installations. In addition, TAIT Navigator and other TAIT products will be available through Kinesys’ global distribution network. ‘I have long admired the amazing work that the team at TAIT has delivered over the years,’ said Kinesys CEO, Dave Weatherhead. ‘By sharing our respective experiences and expertise, we can bring extraordinary solutions to an expanded customer base in integrated and affordable packages.’

Adam Davis, chief creative officer at TAIT added: ‘We believe that offering the power of both Kinesys and TAIT to our customers creates a market-leading platform. Together TAIT and Kinesys will continue to develop cutting-edge automation technology, focus on our core client bases and provide the highest level of excellence and service to our customers.’ www.kinesys.com www.taittowers.com

NEW

TAKING LINE3/4 ARRAY PAGE

PERFORMANCE

TO A WHOLE

NEW LEVEL Sharing the same aesthetic and sonic signatures as the acclaimed GEO M10 and compact M6 line arrays, the new GEO M12 takes its place as the flagship of the range, achieving a peak SPL of 140dB. And with great power comes great versatility, with integral rigging, a dedicated sub, plug & play power options and touring / installation versions making GEO M12 a system that performs at a whole new level in a wide variety of applications.

Thinking. Inside the box.

www.aimsalliance.org

July–August 2019 PRO AVL ASIA 9

NEWS: BUSINESS

QSC opens SAARC HQ in India INDIA: QSC has inaugurated its new 860m2 SAARC headquarters in Bengaluru, India, which will serve as the company’s new hub for business development, management and support for its live sound and cinema solutions in the region. ‘Over the last few years, QSC has been dedicated to growing its international presence, and this new entity is a crucial piece of that strategy,’ stated Markus Winkler, SVP at EMEA and South Asia and managing director at QSC EMEA. ‘As we continue to experience tremendous growth in SAARC yearover-year in all our business units, this dedicated facility will allow us to

demonstrated a collaborative and supportive leadership style which is critical for our expanded regional structure,’ added Winkler.

‘Our business partners in SAARC have been instrumental in our success and will continue to be our main focus as we work together

accelerate our growth trajectory in the coming years.’ In addition to announcing the opening of the new office, QSC has promoted Rajesh Mittal to managing director, QSC India and SAARC. ‘Since joining QSC in 2018, he has played an integral role in the growth of QSC in this region and has

Vega Global hosts 2019 Solutions Day HONG KONG: More than 200 people attended Vega Global’s 2019 Solutions Day event, including end-users and decision makers from businesses across multiple sectors. Vega Solutions Day was held at The Annex in the Nan Fung Place shopping mall in Hong Kong’s Central district. As a global AV/IT systems integrator, Vega Global partnered with several manufacturers, including Bose, Crestron, Shure, Samsung, Deltapath, FWI, Legrand, Logitech and Signify, to highlight emerging technologies

from Cisco, Thomas Lai of Shure and Bose Professional’s Calvin Cho. The first day also featured a panel discussion comprising

and trends in networked AV, as well as the ongoing AV/IT convergence. Speakers during

First AVIXA APEx Indian integrator INDIA: Aesthetix Technologies has become India’s first AV Provider of Excellence (APEx) as part of AVIXA’s recognition programme to demonstrate a high level of service quality and technical capability with a team of Certified Technology Specialists (CTS). Aesthetix joins a list of almost 90 integration companies and AV design consulting firms around the world. AVIXA’s CTS certification is accredited by the American National Standards Institute under the International Organization of Standardization (ISO) and the International Electrotechnical Commission (IEC) ISO/IEC 17024:2012 General Requirements for Bodies Operating Certification Schemes of Persons programme. In addition, Aesthetix Technologies is an enterprise member of AVIXA, which means it has access to training and other resources.

‘We believe in building excellence,’ said Sudan Mylsamy, managing director of Aesthetix Technologies. ‘Achieving APEx is a milestone in our ongoing pursuit of excellence, signifying constant improvement and change for the better. We want to ensure most of the technical team is certified, not only because we wish to retain our APEx designation, but also because we believe that education is one commodity of which we can never have a surplus. It trains our team to think clearly and act properly.’ ‘It is tremendous to see Aesthetix earn India’s first APEx designation,’ said Gaurab Majumdar, AVIXA regional director. ‘We continue to see growth and excitement for exceptional AV solutions and services in the Indian market. An AV integrator such as Aesthetix raises the bar for many other providers in the region.’ www.aesthetixglobal.com www.avixa.org

10 PRO AVL ASIA July–August 2019

the first day of the event included the likes of Samsung’s Herry Lai, Crestron’s Jack Chan, Rich Yim

to develop new opportunities in all vertical markets,’ elaborated Mittal. ‘The ability to offer in-region support resources in addition to our comprehensive solutions portfolio allows us to better equip our partners with the right tools to grow their business and deepen customer relationships. In addition, we can give customers a first-hand experience of QSC solutions, as well as local training, including the Q-Sys Architect training programme, enabling our customers and partners to understand the QSC difference.’ www.qsc.com

AV experts from Cisco, Bose, Crestron, Samsung and Shure, moderated by Vega’s Matthew Deayton. Meanwhile, the second day featured a range of seminars with topics such as collaboration presented by Logitech, Legrand, and Deltapath, networking delivered by Cisco and Crestron, visual presented by Signify, FWI and Samsung, and audio conducted by Shure and Bose Professional. www.vega-global.com

XFIP/RIF67 Nexus products get JT-NM accredited

WORLD: Stage Tec’s XFIP/RIF67 Nexus products have been issued with the SMPTE ST 2110 JT-NM Tested label. The Joint Task Force on Networked Media (JT-NM) Tested programme was recently launched to document the extent to which products implement the ST 2110 standard. The XFIP/RIF67 Nexus products were subjected to the ST 2110-30 audio and the ST 2022-7 tests. ‘Stage Tec’s participation in the JT-NM Tested programme was a complete success,’ said Stage Tec’s René Harder. ‘The use of IP is becoming increasingly important in the industry. The need to ensure interoperability between devices from different manufacturers is therefore growing. The independent test results make a significant contribution to providing users with guidance. Users can make a better assessment of how our products can be used for applications in combination with ST 2010 components.’

JT-NM organised the tests, which were carried out by the European Broadcasting Union and the Institut für Rundfunktechnik GmbH in Houston in March. A total of 34 companies submitted more than 75 products for this first round of testing, including Imagine Communications, which presented

its EPIC MV multiviewer, Selenio Network Processor and the Versio modular playout system. ‘The Joint Task Force on Networked Media (JTNM)Tested programme is a key achievement in the industry,’ said John Mailhot, CTO of networking at Imagine Communications and document editor of the SMPTE ST 2110 suite of standards. ‘It allows customers to proceed with confidence in buying and implementing SMPTE ST 2110 systems from multiple vendors, with the expectation that they will work correctly together. This level of confidence in specifying and purchasing systems is a huge advance for forward-looking media companies.’ www.imaginecommunications.com www.jt-nm.org/jt-nm_tested www.stagetec.com

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NEWS: BUSINESS

Nexo Geo M12 line array launches in Indonesia INDONESIA: An exclusive audience of sound engineers and audio rental providers in Indonesia gathered in Jakarta for the launch of Nexo’s latest line array system, the Geo M12. The event, attended by more than 100 people, was the first to be organised by PT Yamaha Musik Indonesia, the manufacturer’s newly appointed distributor in the country. The event was kicked off by Chihaya Hirai, the senior general manager of the Audio Product Group, PT Yamaha Musik Indonesia. His presentation began with the story of how Yamaha and Nexo came together in 2005, when the Yamaha Corporation first bought

shares in the French company, leading to a distribution agreement in North America, and subsequently in Japan and Singapore. In 2008, Nexo became a full subsidiary of the Yamaha Group, and embarked on a programme of collaboration on joint projects, product development and shared expertise. Highlights of that programme include the Nexo NXAMP amplifier range, and Yamaha DXR and DXS loudspeakers. Joe White, Nexo’s new business development manager for Southeast Asia, shared detailed insights into Nexo and the passion it invests in each product. His profile of Nexo’s manufacturing

operation ranged from its heavy investment in machinery and robots on the production line, to its commitment to international certification, such as the TUV marque, which provides a guarantee to users, provided the loudspeakers and accessories are installed in accordance with safety instructions. Coming to the highlight of the presentation, the technical marketing team from PT Yamaha Musik Indonesia introduced the Nexo loudspeaker portfolio, and then moved on to focus on the latest member of the Geo Series, the Geo M12 mid-size line array system. The special listening session gave the audience a chance to audition a wide range of Nexo products from the Geo family, in combinations of Geo M6 compact line array with LS18 subs, Geo M10 mid-size line array and MSUB15, and ID24 super-compact cabinets with ID S110 subs, as well as the star of the show, configured with six Geo M12s per side and eight MSUB 18s arranged in cardioid mode. The Geo M12 series is a mid-size loudspeaker line array that offers

a maximum SPL of up to 140dB, a significant advance on the output of its predecessor, the Geo S12. The Geo M12 can also reproduce sound at low frequencies up to 50Hz. The presentation took a close look at the patented technology embedded in the M12, including a Profiling Tube Port that enables the Geo M12 to produce sound at very clean low frequencies without distortion and air turbulence and phase directive devices which provide woofer capabilities to produce a point of intersection between the LF driver and HF driver at a higher frequency point. The Hyperbolic Reflective Wave Source which ensures the sound produced

by HF the driver exits the cover so that it can be compared with conventional horn designs and Auto Rig, which makes it easier for users to install the speakers were also highlighted. Before closing the event with a short concert by The Pusakata & The Panganans, PT Yamaha Musik Indonesia took the opportunity to introduce five official dealers for Nexo products in Indonesia, namely Sirius Audio Tech (Jakarta), PT Electro Audio Engineering (Jakarta), IM Solution (Surabaya), Dempo Musik (Surabaya) and CV Indotekhnik (Bali). www.nexo-sa.com www.id.yamaha.com

Showtec brings L500 to Southeast Asia SINGAPORE: Showtec Singapore has become the first rental company in Southeast Asia to invest in Solid State Logic’s L500 plus mixing console and two ML32.32 stageboxes and a Blacklight Concentrator for big venue shows with I/O counts of up to 256 inputs and outputs over 150m. ‘I remember the very first time I had the chance to hear the significant difference that this console made was during America’s

Got Talent; the L500 was used as a broadcast and FOH console. I had never heard that much clarity,

realism and power bring the PA to life,’ commented Showtec’s Kamal Adam Litak. ‘We have been doing

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the front panel. ‘Having Showtec pick up the L500 is great for us and the region, as now artists touring in this part of the region can approach them for their SSL rider needs,’ said Malcolm Chan from SSL Asia. ‘Just this year alone, we have had the likes of Maroon 5 and Shawn Mendes.’ www.showtecsingapore.com www.solidstatelogic.com

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several big acts with the SSL board appearing on the rider, and so it seemed only logical that we equip ourselves with a console that pairs well with our existing top-end arrays from L-Acoustics and d&b.’ The L500 Plus is a 36 fader, 32 input, 32 output, eight AES (pairs) console that can support up to 256 audio paths, while the M32.32 stagebox houses 32 remote controlled SSL SuperAnalogue mic/ line inputs and 32 line outputs on

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NEWS: BUSINESS PROJECTS

Qvest Si addsbecomes S appeal Avid Certified Cloud Partner WORLD: Systems and VIETNAM: Hanoi isarchitect changing. ICT integrator Qvest Media has Some overseas visitors who have expanded on its relationship previously visited the Vietnamese with Avid, the firstsurprised Avid capital citybecoming are pleasantly Certified Cloud Partner for use in to learn that they no longer require Microsoft Azure. This will result in a visa. Upon landing at the newly the availability of a postproduction built Nôi Bài International Airport infrastructure Avid to the north ofwith thevirtualised city, they are Nexis storage that operate whisked alongsystems a new motorway on Microsoft Azure, with and bridge spanning theMedia Red River. Composer In order to offered cater forwith theflexible growing deployment. Meanwhile, will tourist numbers, Hanoi'sQvest municipal be authorised tohas perform licence administration gone one stage management for required Avid and further by granting restaurants products. bars within the Hoàn Kiếm District licences to open until 2am.

18-inch subwoofers. Equally spaced across the length of Si, the point source 12-inch cabinets are equipped with a rotatable 75° x 50° horn and are capable of providing a maximum SPL of 133dB SPL should the DJ take the music to dizzy heights after midnight. ‘We considered some other brands, but opted for d&b as it really does provide clean, intelligible audio in high definition,’ furthered Mr Trung. Rather than hide these from the view of Si’s Instagram loving,

combines red, orange and pink. The unique RAL design cer tainly blends in with the décor. Systems integrator Stage Professional ‘Working with Qvest Media, Avid spent a week on site cabling will ensure that thesystem media and the loudspeaker that entertainment community can12-inch includes a single M2 dual capitalisefor onthe the DJ cloud with workflows monitor and a pair of that achieve greater efficiency smaller 5S speakers in the and VIP S21 console collaboration to deliver their best room. A DiGiCo has been added to the Colantuoni, inventor y work,’ commented David allowing Si tomanagement transform into VP of product at Avid. Media CTO Thomas a Qvest per formance space for Müller one added: ‘We aremonth, excited showcasing to step up evening each our collaboration musical acts. with Avid to help its customers to leverage the cloud.’

The S12’s unique RAL finish blends in with Si Cuisine & Mixology’s décor chic guests, Mr Trung opted to highlight the cabinets by having

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Patankar Sound Pro invests in Dynatech

INDIA: Patankar Sound Pro, a DJ rental company in Mumbai, has added a Dynatech DDJ-850 media player and with Hanoi entrepreneur Mr Trung DDJ-3Professional’s tabletop DJ mixer to Stage Mr Hung its inventor y. The sale was facilitatedatby Vardhaman Educated Hamburg University, MegaTech, while Sonotone Hanoi entrepreneur Mr Trung seized Dynatech as its onrepresents the opportunity by investing distributor. inIndian his most expensive and eyecatching entertainment venue to date. Located on the fashionable Hàng Bài, Si Cuisine and Mixology has made its mark. Inspired by Bill Bensley of Bangkok, the venue combines statues, a mouth watering menu, rich furnishings and a number of interactive displays including projection mapping screened onto artwork, rotating mirrors and bottle shelves behind the bar, together with opening and closing lighting fixtures that resemble Venus fly traps. Audio reinforcement plays an ‘Whether Bollywood, important roleit’s in creating the commercial any other type ambience. ‘Theoratmosphere nothing impacts isof setmusic, from the moment we your sound more in than choice serve coffees the the morning of player, controllers until last order cocktails and are mixers,’ said Sachin, owner served,’ insisted Mr Trung. As an of Patankar Sound. ‘My team organiser of EDM festivals, he including myself love respect playing also commands a deep the DDJ-850 media player foronGerman engineering following paired with the DDJ-3 DJ mixer his studies and employment in – a combination allows Germany. ‘I wanted that to install a for audiotechnik smooth and loudspeaker flawless music d&b playback, while delivering system into Si – one that would good processing and high provide added character and further per formance in a simple differentiate us from other venues inpackage.’ the district.’ Powered by three 10D amplifiers, a www.dynatechaudio.com wall-mounted distributed patankar-sound.business.site system of eight S12 speakers iswww.sonotone.in supplemented by four floorstanding B6 omni-directional

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Rutledge AV enters fifth decade under new ownership AUSTRALIA: Having asserted its international credentials into EMEA and APAC, global technology solutions provider Diversified has extended its global footprint to Australia. Headquartered in New Jersey, the US company has announced its acquisition of Australia’s long-serving systems integrator, Rutledge AV. Having celebrated its 40th anniversary in April, the Melbourne-based company founded by Michael and Sandy Rutledge numbers 365 employees with offices across seven states and territories. As a leading systems integrator in Australia, Rutledge AV’s extensive client base and strong service track record were specifically targeted by Diversified. The acquisition will now enable it to provide local

support to its clients with the confidence to deliver the standards they’ve become renowned for in the Americas, EMEA and APAC. ‘I’m very excited for this endeavour, expanding our capabilities into the Australian market and being a true global technology partner for our clients,’ commented Diversified founder and CEO, Fred D’Alessandro. ‘The Rutledge team and everything they’ve built are testament to their strengths as an organisation and the synergy of our cultures, always a key deciding factor, promises continued growth and opportunity.’ Founded from humble beginnings in 1979, primarily involved in the design and build of broadcast and recording studios, Rutledge AV has exponentially grown to become

INDIA: Audio Factory has added a Bose Professional ShowMatch system to its rental inventory. The rental production company supports regional events as well as international touring artists. Its new stock of ShowMatch solutions allows it to offer up to 48 ShowMatch line array modules and 48 SMS 118 subwoofers.

shows, from a corporate event for Harley Davidson to a concert at the Grand Hyatt Goa in Bambolim, India, featuring Pritam, the multiaward-winning Indian composer, record producer and music director for Bollywood films. It is a very flexible system.’

is now charged with leading Diversified’s expansion into Australia and helping establish the company’s operations in the region. ‘We are very excited to be part of Diversified,’ commented Mr Morrice. ‘The merger was a logical choice with numerous similarities between our businesses and Diversified’s innovative approach to the technology services industry. We can’t wait to start working together as one team.’ Operating as a wholly owned subsidiary of Diversified, Rutledge AV will continue to be a trusted partner to its clients while introducing Diversified’s portfolio of offerings.

Australia’s largest AV integration specialist. ‘I’m delighted to have found the perfect home for what

has been my life’s work,’ reflected Michael Rutledge, who now serves as Rutledge AV’s chairman. ‘Sandy and I look forward to seeing the company continue to thrive as part of the Diversified family.’ Diversified’s president Kevin Collins added a further comment. ‘Welcoming Rutledge into the Diversified family is a huge milestone that I am proud to be part of. Much of our strategic international growth has led us to this point, where we now have established entities in almost all continents across the globe. Most importantly, we’ve arrived here through partnerships with highly skilled organisations that share our values and passion for nextgeneration technology solutions. Rutledge CEO Andrew Morrice

WORLD: Hong Kong headquartered Vega Global has had a complete revamp of its website as part of the company’s ongoing mission to develop its global presence and bring together all of its regional offices in APAC and Europe into one digital platform. With its recent office expansions, the integrator and AV solutions provider hopes the new ‘unified platform’ will create a digital network where its solutions, services and list of clients can be viewed. The web inter face is tailored for users to access across the spectrum of regions

Vega operates in, and to more easily navigate through its vertical markets, projects and regional offices. Vega’s managing director, Laurie Chow, said: ‘The new website is one of the key developments as we bring Vega towards globalisation. As we push the business globally, we are unifying all of our strategic and digital marketing effor ts and the new website is one of the catalysts to bring for th Vega in the international scene.’ Global business development director, Matthew Deayton, added: ‘The marketing team

has put a significant effor t into planning and developing our new website. There are inherent challenges of striking the balance of accommodating the diversity of language and culture within our footprint while maintaining a clear and intuitive user inter face. The site has been planned as a platform that continues to grow and develop as we grow and develop as a business. This is a direct reflection of our commitment to the industr y and to the regions in which we operate.’

Michael Rutledge

www.diversifiedus.com www.rutledge.com.au

Audio Factory Vega Global launches stocks ShowMatch online platform

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Audio Factory’s Vivek Vij and Bose tour sound manager Ravi Kant Sharma ‘When I first heard the system a few months ago, I felt the sound quality was extremely good,’ said Vivek Vij, director of Audio Factory. ‘I immediately compared ShowMatch with other systems on the market. You can listen to this system for many hours without fatigue – and it is very consistent. The audio quality does not diminish over time – which is exactly what I need to provide to our clients: a system that consistently provides clean, clear audio. ‘We made the commitment to add Bose to our rental inventory. Since we started using our ShowMatch system, we have employed it on a wide variety of

www.vega-global.com

AVIXA awards Tom Danley

Audio Factory deployed its ShowMatch systems at the Pritam Live Show in Goa

16 PRO AVL ASIA July–August 2019

WORLD: Tom Danley, co-founder and designer of Danley Sound Labs, has been honoured by AVIXA at a recent InfoComm ceromony in Orlando, Florida. Danley Sound Labs has been up and running for 14 years. The company credits its success to the working relationship between Danley, veteran AVL

integrator Mike Hedden, and its team of engineers and support technicians, including Ivan Beaver and Doug Jones. Following a career in the aerospace industry, Danley followed his lifelong passion for high-fidelity sound at high SPLs and developed a series of patented horn-loaded loudspeaker and subwoofer

systems that are said to sidestep the trade-offs and limitations of conventional designs. More recently, Danley’s products have moved into the realms of sports arenas and concert venues. www.avixa.org www.danleysoundlabs.com

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NEW ARCS LINE SOURCE FAMILY The new ARCS A15 and A10 systems deliverÂ renownedÂ L-Acoustics concert performance and reliability for audiences from 50 to 5,000. Mounted on a pole, stacked on the companion KS21 or flown in vertical or horizontal arrays, the new ARCS family combines plug-and-play ease and international market acceptance. This versatile solution, with adjustible directivity, scales with the needs of your company and is your gateway to the L-Acoustics rental network. ARCS can take you anywhere you want to go. l-acoustics.com GROW !

NEWS: BUSINESS

Tre Bass Entertainment employs grandMA3

MALAYSIA: Tre Bass Entertainment has purchased Malaysia’s first MA Lighting grandMA3 lighting console with an MA Network Processing Unit to add to its rental inventory, as well as 12 channels of Shure

Axient Digital Beta58 wireless microphones. The solutions were all purchased from distributor Concept Associates. Following the purchases, Concept Associates organised training for the Tre Bass

WORLD: ComplexGlobal, a project support consultancy firm specialising in managing projects for the entertainment, humanitarian and corporate sectors, has launched in Dubai, London, New York, Hong Kong, Melbourne and Sydney. The company aims to provide expertise, resources and personnel, risk management and insights, bespoke research and assistance with global logistics and travel. For festivals and events, this could include anything from project managers, production staff and technical directors, to logistics coordinators, event specialists or operations managers. The team at ComplexGlobal draws from a variety of sectors, having assisted with touring productions, corporate projects, ceremonies, rock and roll concerts, and government and community projects. Prior to launching, the

executive team, consisting of Tom Warneke, Chad Smith and Anna Robb, have worked on a variety of entertainment projects, including the World Air Games 2015 in Abu Dhabi, Al Ghad Forum 2015 in Saudi Arabia, The House of Dancing Water in Macau, Sydney New Year’s Eve Celebrations in Australia, and Beats on the Beach, Redfest and Party in the Park festivals in the UAE. ‘Nowhere is too foreign or remote for us,’ stated a spokesperson from ComplexGlobal. ‘We specialise in helping people work outside their comfort zones, assisting on projects that are large in scale, urgent in nature, and in new or difficult environments. We do this through the use of intelligence, expert people, partnerships and our global network.’

office in Rawang and delivered by Total Solution Marketing’s product specialist, Hakeem Adam. ‘Our vision is to do our very best to deliver the best-quality show for our client now and in the coming future,’ commented a member of the Tre Bass team, adding that the rental company plans to add more lighting equipment to its inventory soon. www.conceptaudio.com.my www.malighting.com

Entertainment engineering team in collaboration with Total Solution

Marketing. The two-day workshop was held at the rental company’s

www.tbe.com.my www.tsm-int.com

Global project Pixel Power integrated into consultancy launched Qvest.Cloud WORLD: Pixel Power has partnered with Qvest Media to integrate its playout and automation systems into Qvest.Cloud, a multicloud management platform for media. ‘Qvest.Cloud from Qvest Media is an ideal environment for our virtualised approach to automation,’ said James Gilbert, CEO of Pixel Power. ‘For many reasons, broadcasters are keen to adopt hybrid workflows that blend cloud and on-premise hosting of fully integrated systems. That is precisely what Qvest.Cloud brings to the table: it means our clients can create their own bespoke workflows and use whichever cloud providers

deliver the right service for them.’ As well as fully featured channel playout, the Pixel Power architecture also allows for power ful functionality such as the automated creation of VOD assets for catch-up channels, and the automated creation of trailers and promos. The company has long offered its automation technology on pay-

as-you-go and pay-per-feature licensing models, which fit per fectly with Qvest.Cloud. ‘Pixel Power playout and automation solutions are designed to take full benefit of the cloud, and therefore fit per fectly in the Qvest.Cloud ecosystem,’ commented Thomas Müller, CTO at Qvest Media. ‘Our aim is to offer customers from the broadcast and media industry a platform that is scalable and cost-efficient, with proper ready-to-use packages and custom-tailored enterprise solutions.’ www.pixelpower.com www.qvestmedia.com

Tracktion, 2JW, Prism Elation introduces Sound and SADiE unite five-year warranty

WORLD: Elation Professional has extended its standard limited product warranty to five years on LED light engine sources of its latest and ‘most popular’ LED luminaires. Additionally, the warranty on fixture components has been increased to three years for those used in registered indoor fixed installations. Both warranty extensions apply to the Artiste, Fuze, KL Fresnel, Seven and Profile LED product series used in indoor installation projects installed and maintained by an authorised reseller. Products employed for temporary indoor rental projects will benefit from a five-year warranty on LED engine sources, while the warranty for fixture components will remain as two years.

www.complexglobal.co

All exterior-rated lighting products retain Elation’s standard twoyear limited product warranty for both LED source and fixture components. ‘High-power LED technology has evolved and matured to the point that it now allows us to offer this extended warranty to our customers,’ said Eric Loader, Elation’s global director of sales and marketing. ‘Because we work closely with our component suppliers and select only the highest quality key components to engineer into our products, the long-term reliability of our products has increased tremendously. We therefore feel very confident in being able to provide this extended warranty.’ www.elationlighting.com

18 PRO AVL ASIA July–August 2019

WORLD: DAW developer Tracktion and custom audio electronics manufacturer 2JW Design have teamed up with Prism Sound and SADiE to form a new company named Audio Squadron, the aim of which is to combine the four entities under the canopy of a single organisation to increase investment and creative sharing.

Tracktion is known for its Waveform DAW, while UK-based Prism Sound is known for its range of high-end audio interfaces and AD/DA converters. Prism Sound’s pro audio division will be integrated into Audio Squadron. SADiE brings its audio editing software SADiE 6 to the table, as well as its digital recorders and studio workstations.

‘We are excited by the multitude of oppor tunities offered by this collaboration,’ said James Woodburn, Tracktion co-founder and CEO. ‘It is the best of both worlds for Tracktion, 2JW Design, Prism Sound and SADiE. While we remain independent, we can more easily work together to bring renewed focus to deliver y of the highest quality audio products.’ Prism Sound founder and director Graham Boswell added: ‘The shared vision of this venture will greatly enhance our ability to accelerate creativity in the design and development of the industr y-leading audio tools our customers have come to rely on. We’re eager to star t working on this exciting new chapter of Prism Sound and SADiE’s life.’

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NEWS: BUSINESS

Hexogon becomes disguise partner in APAC Chameleon integrates with Maestro

APAC: disguise has appointed Singapore-based Hexogon Solution as its newest rental partner in APAC. Hexogon has offices in Thailand, Japan, Taiwan, Vietnam, Hong Kong and the Philippines, and has been involved with prestigious events such as Singapore National Day celebrations, which it has supported annually since 2012, the Singapore Formula 1 City Light Up (since 2014) and the 28th SEA Games’ opening and closing ceremonies.

G4 launches in Indonesia GatesAir acquires ONEtastic

INDONESIA: Sennheiser has WORLD: GatesAir has announced launched its G4 evolution wireless that it has acquired at ONEtastic series in Indonesia a closed Srl, anfor Italian manufacturer event distributors and dealers of television andHotel digital at the Pullman Jakarta. The radio transmission systems. Indonesia launch on February ONEtastic’s in high-of 20th followsstrength a succession efficiency, low-power TV and unveilings from the manufacturer DAB radio transmitters said throughout countries inisSouth to complement GatesAir’s broad East Asia. range of transmission solutions, The manufacturer successfully and will help better late released the GatesAir G4 in Thailand address needs of large-scale, last year the in partnership with over-the-air networks distributors Petchsiamworldwide. Sound The acquisition strengthens Group (PSG) andalso Soheto Thailand. GatesAir’s andplace visibility A series of presence events took to in Europe. Sennheiser’s G4 100 showcase

Series, G4 300 Series, G4 500 ‘The acquisition of ONEtastic Series and IEM series for live underscores our commitment performances carried by PSG. to the broadcast market and Soheto Thailand demonstrated accelerates theG4 investments the use of the 300 Series,we are making our transmission G4100P andinG4500P Series portfolio,’ saidfilm, Bruce D Swail, CEO for broadcast, business of GatesAir. ‘TheDuring unique, and education. theinnovative event award-winning products and –and attendees were treated with technologies from ONEtastic add presentations of the G4 product new and capabilities to our portfolio line a sit-down interview and and complement our transmission review with end-users who have and transport platforms. already had a taste of theThe product addition ofas anwell experienced first-hand, as band and and highly talented research, vocal performances. development andRoland services team On the launch, Lim, vice from ONEtastic furthersolutions expands president, pro audio

at Sennheiser Asia, said: ‘When we set out to create the evolution wireless G4, we had three criteria in mind: simplicity, flexibility and reliability. The 4th generation of Sennhesier’s most popular range truly grows and evolves with each enduser, whether it’s live sound, broadcast, film, education or business. Offering zero compromises in transmission, and a fuss-free set up process.’ www.sennheiser.com www.soheto.co.th

Bruce D Swail www.petchsiamsound.com

The company invested in disguise media servers for the 2019 Marina Bay Singapore Countdown show on New Year’s Eve and also the new Lake vxWORLD: 4 serverBannister to increase its has fleet’s entered into a non-exclusive strength. sales, distribution ‘As we marketing are rapidly and expanding, not agreement with that will see only in Asia but in Avid target markets the former’s outside of Asia,Chameleon we need todata ensure aggregation management that we have aand strong variety of solution integrated into Avid’ssaid server brands in our inventory,’ Maestro This willdirector enable Adrian Goh,Graphics. group managing users to more easily atMaestro Hexogon. ‘disguise is one of the aggregate, moderate and populate data-driven graphics for news, sports and financial productions. The Chameleon solution is capable of reading, ingesting our world-class engineering andand managing multiple data support expertise todiverse create new feeds through an advanced innovations for the broadcastweb interface, providing segment and beyond.users Their with controlEU over both incoming data central location strengthens and output formats. Customised our international footprint and data is imported intogrowth.’ graphic commitment to global templateshas directly through GatesAir statedorthat it will Chameleon’s API staff for retain the entireRESTful ONEtastic useitsinBrescia news, sports, and facility, elections, which will financialoperations and other as content continue GatesAir genres, and can imported Srl. ONEtastic CEOalso LucabeSaleri will intoremain augmented reality androle virtual also in a leadership products, asofwell as IPasreality general manager GatesAir based Srl, whilesolutions. ONEtastic founder Carlo Bombelli will be a key contributor

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2019 20 PRO AVL ASIA July–August May–June 2019

top servers in the market. Having a large fleet of projectors in the company also means that disguise, with their advanced projection ‘We are excited about bringing workflows and capabilities, will be Bannister wealth of data one of the Lake’s preferred choices for knowledge and expertise large-scale events. We are into more the Avid ecosystem,’ said Ofir comprehensive in our offerings Benovici, vice president of and more Avid’s competitive in the rental media marketenterprise. than ever before.’ ‘As live and static data play www.disguise.one an increasingly important role www.hexogonsol.com in the production process, our end-users will realise greater value through more efficient workflows, better storytelling and the opportunity to secure new to the GatesAir team moving business.’ forward. ‘Avid is a natural fit for our data ‘We have worked closely with aggregation solutions,’ added GatesAir and their talentedof Georg Hentsch, president sales and Lake. engineering teams Bannister ‘Not only will Avid over the years,’ said customers be able toBombelli. do more ‘Our their combined strengths willhave with graphics, they will allow the broader to the opportunity to company leverage data provide our of customers the in all kinds ways thatwith were industry’s unavailable. most reliable, statepreviously We look of-the-arttotransmission solutions forward a long and innovative that is backed byAvid.’ a global service relationship with network. We’re very excited about www.avid.com the possibilities that lie ahead.’ www.bannisterlake.com www.gatesair.com

NEWS: BUSINESS

Action Sound updates inventory AUSTRALIA: AUSTRALIA: Sydney-based Sydney-based AV AV production production company company Action Action Sound Sound has has invested invested in in Dynacord Dynacord TGX TGX touring touring amps amps and and Electro-Voice Electro-Voice X2 X2 line line arrays arrays and and subs. subs. Action Action Sound Sound owner, owner, Tony Tony Hystek, Hystek, has has been been relying relying on on systems systems from from both both manufacturers manufacturers since since first first starting starting the the business. business. ‘We ‘We needed needed to to take take the the next next step step up up after after the the [Dynacord] [Dynacord] Cobra Cobra systems,’ systems,’ said said Hystek. Hystek. ‘Something ‘Something

flyable. flyable. The The X2 X2 is is special special due due to to being being lightweight, lightweight, simple simple to to rig, rig, with with high high SPLs SPLs and and great great sound. sound. The The TGX TGX amps amps add add another another dimension dimension to to the the system. system. Only Only three three four-channel four-channel amps amps (60,000W) (60,000W) are are needed needed for for aa 16-top, 16-top, six-sub six-sub system. system. Fewer Fewer subs subs are are needed needed now now that that they they have have the the TGX TGX amplifiers amplifiers behind behind them. them. And And there there is is no no need need for for in-fill in-fill speakers speakers either. either. The The power power and and the the distance distance achieved achieved are are extraordinary.’ extraordinary.’ The The X2 X2 speakers speakers join join Dynacord Dynacord D-lite D-lite 2000, 2000, Madras Madras M15, M15, Madras Madras M18, M18, Cobra Cobra 22 and and 44 loudspeakers, loudspeakers, as as well well as as ZX, ZX, ETX, ETX, PX, PX, XW XW and and T-series T-series cabinets cabinets from from Electro-Voice, Electro-Voice, in in Action Action Sound’s Sound’s inventory. inventory. In In addition addition to to the the TGX TGX amps, amps, Action Action Sound’s Sound’s inventory inventory includes includes ElectroElectroVoice’s Voice’s CP CP and and P-series P-series amps, amps, and and Dynacord Dynacord H-series H-series amplifiers. amplifiers. EV EV microphones microphones and and Dynacord Dynacord PowerMate PowerMate mixers mixers are are also also part part of of the the roster. roster. www.actionsound.com.au www.actionsound.com.au www.boschcommunications.com.au www.boschcommunications.com.au www.dynacord.com www.dynacord.com

Tony Tony Hystek Hystek

www.electrovoice.com www.electrovoice.com

Sonarworks finds financing

WORLD: WORLD: Czech Czech audio audio software software developer developer Sonarworks Sonarworks has has announced announced that that is is has has completed completed aa €5m €5m Series Series AA round round of of financing, financing, following following earlier earlier investment investment of of €1.3m. €1.3m. This, This, the the company company states, states, will will allow allow itit to to pursue pursue its its mission mission of of delivering delivering accurate accurate sound sound on on any any device. device. The The financing financing is is co-led co-led by by Karma Karma Ventures Ventures in in Estonia Estonia and and Practica Practica Capital Capital in in Lithuania, Lithuania, with with participation participation from from Turkish Turkish Revo Revo Capital, Capital, Estonian Estonian SuperAngel, SuperAngel, and and ProksCapital ProksCapital and and Imprimatur Imprimatur in in Latvia. Latvia. Sonarworks Sonarworks has has gained gained popularity popularity in in the the pro pro sector sector in in recent recent years years with with its its Reference Reference DAW DAW plug-in plug-in that that brings brings calibrated calibrated audio audio playback playback to to correct correct room room acoustics acoustics or or headphone headphone response. response. The The latest latest funding funding is is part part of of the the

company’s company’s plans plans to to expand expand further further into into the the consumer consumer market. market. ‘This ‘This is is another another milestone milestone for for Sonarworks. Sonarworks. With With the the new new investors investors on on board, board, we we are are now now heading heading in in the the right right direction direction toward toward delivering delivering the the ultimate ultimate sound sound experience experience on on any any device,’ device,’ commented commented Helmuts Helmuts Bems, Bems, Sonarworks Sonarworks co-founder co-founder and and CEO. CEO. ‘We ‘We are are now now working working with with companies companies in in music music streaming, streaming, headphones, headphones, smartphones smartphones and and the the automotive automotive sector. sector. Having Having our our team team closer closer to to these these customers customers will will enable enable us us to to deliver deliver even even better better integration integration capability.’ capability.’ Sonarworks Sonarworks has has aa database database of of more more than than 10,000 10,000 measured measured sound sound devices devices and and aa set set of of AI-based AI-based technologies technologies to to map map individual individual hearing hearing and and sound sound preferences. preferences.

By By combining combining digital digital adjustment adjustment of of the the sound sound device device and and individual individual hearing, the the company company is is aiming aiming hearing, to to deliver deliver aa personalised personalised sound sound experience experience for for every every individual individual on on every every device. device. ‘The market market opportunity opportunity for for ‘The Sonarworks Sonarworks is is to to have have its its technology technology in in use use by by over over 11 billion billion devices devices globally; globally; the the new new financing financing enables the the company company to to execute execute on on enables that that strategy,’ strategy,’ commented commented Donatas Donatas Keras Keras from from Practica. Practica. ‘Practica ‘Practica is is thrilled thrilled to to partner partner with with Sonarworks Sonarworks in in its its next next chapter. chapter. Ultimately, Ultimately, this this will will enable enable music music lovers, lovers, movie movie fans fans and and gaming gaming enthusiasts enthusiasts to to have have aa significantly significantly richer richer and and more more fulfilling sound sound experience.’ experience.’ fulfilling www.sonarworks.com www.sonarworks.com

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July–August July–August 2019 2019 PRO PRO AVL AVL ASIA ASIA 21 21

NEWS: BUSINESS

Honeywell enters the ProSound market WORLD: Honeywell has officially thrown its hat in the ring, entering the pro audio industr y with the launch of a range of speakers under the new Honeywell ProSound banner. Aimed primarily at the enter tainment industr y, Honeywell ProSound speakers extend the company’s audio offerings past public address and voice alarm systems to become ‘a complete audio solutions provider’.

The Honeywell ProSound product range is initially formed from the ProZeta series designed for DJs and travelling musicians, the ProAlpha family of highdefinition speakers for use in clubs and other venues requiring high SPLs, and the ProZoe series designed for indoor or outdoor applications. ‘We are extremely excited to announce our first products for the pro audio industr y with the launch of Honeywell ProSound,’

said Jasmeet Bhatia, strategy and marketing leader at Honeywell Building Technologies, India. ‘We are confident that the speaker range will prove to be the offering of choice for our discerning customers and its cutting-edge innovation, superior quality, uncompromising safety and extraordinar y sound per formance will resonate well with the industr y.’ www.honeywell.com

TAG embarks on a caring mission AUSTRALIA: Technical Audio Group’s philanthropic arm, TAG Cares, recently undertook its most ambitious project so far, heading to the remote indigenous community of Amata in Anangu Pitjantjatjara Yankunytjatjara to donate three vehicles worth of musical instruments, audio and lighting equipment. ‘We received the call from Amata resident and Pitjantjatjara man, Tapaya Edwards,’ recalled Maxwell Twartz, TAG director. ‘He works with the school, manages a local music band and is a traditional performance artist in his own right.’ Edwards had requested the equipment for local seven-piece desert reggae band Mala and for music classes at the Amata Anangu School. Mala have played and won local band competitions. Several of the band members are employed

by the school to help with teaching music and other arts. Edwards wanted to equip the band with proquality gear and provide the school children with equipment to learn on and use. ‘Despite its remoteness, we were very keen to support this project as it ticked the boxes for us,’ said Twartz. ‘The number one thing is to be invited to help, and by someone with standing and vision in the community. With his involvement, we were super confident to undertake the project and we can’t speak highly enough of Tapaya’s contribution.’ At the start of the journey, the three vehicles converged in Coober Pedy. TAG director Tony Russo drove the Allen & Heath ‘#Ampervan’ from Sydney via Port Augusta, TAG’s WA sales manager, Marc Sharman, drove his Nissan Patrol ‘Recovery 7’ across the Nullarbor Plain, while Twartz took the short-cut from

Sydney via the Oodnadatta Track in his Toyota Landcruiser. Audio consultant David Gilfillan and project coordinator Billy Armstrong arrived by plane. The following day the vehicles formed a convoy to drive to Amata. ‘The Fiat [#Ampervan] is certainly not your typical outback vehicle,’ said Russo. ‘We needed to take it for its load carrying, but some had doubts it was really up to the long hauls, the loose sand and corrugations of hundreds of kilometres of dirt roads. Well it certainly proved the knockers wrong and got us and the gear safe to Amata very stylishly – which didn’t go unnoticed by Amata residents.’ The TAG team arrived with musical instruments, many donated by TAG staff and industry colleagues, including six guitars, two basses, three keyboards, guitar amps and a drum kit, as well as an Allen & Heath mixer, a QSC PA, a full

complement of Audio-Technica microphones and headphones, lights, road cases and more. ‘Our choices of equipment were designed to challenge the kids and give those with curiosity a forward pathway,’ said Sharman. ‘The best example is the mixer. Although a simple analogue mixer would have done the job, we took an Allen & Heath Qu-16 digital mixer because it provides a gateway to pro mixing

and music skills, while the older group was getting a grip on audio technology.’ ‘The sessions proved to be a success and, although we were able to teach the kids, I think most of the learning was done by us,’ said Armstrong. ‘We were all challenged in different ways but deeply rewarded by our experiences and better understanding of indigenous culture and community.’

and a centrepiece for wherever their musical and production talents take them, be it recording or live. Plus, with its presets you can return to ground zero whenever you get lost.’ ‘Tapaya had organised a day at the school where we were able to teach two groups of kids the basics of sound and audio technology,’ said Gilfillan, who led the sessions with help from Russo. ‘It was a full day. The younger kids soaked up the basics and just wanted to perform and show their singing

‘Thanks to TAG staff who donated time and spare musical instruments, to Show Technology for lights, The Resource Corp for stands, Design Quintessence for packers, Trumps Music, Soundtown, Mega Music and Australis for musical instruments and amps, and team members who donated their time and undertook the trip, Billy, David, Marc and Tony,’ concluded Twartz. www.tag.com.au

Tektronix Video merges into Telestream WORLD: Tektronix Video will be merged into Telestream. This is the result of a partnership Telestream has formed with Fortive. Tektronix Video, which is based in Oregon and has R&D and engineering facilities in Bangalore, provides test, monitoring and quality assurance solutions for the broadcast and

digital media. Tektronix solutions, according to Telestream, are used by 95% of leading broadcasters and network service providers. Scott Puopolo remains CEO of the now combined company. ‘Combining Tektronix Video with Telestream brings more extensive sales reach and a very strong presence in

22 PRO AVL ASIA July–August 2019

Scott Puopolo

additional countries and markets, as well as extensive channel relationships through which we can sell our entire portfolio,’ he said. ‘Tektronix Video has industry-leading product management and R&D skills that can augment our talent and extend Telestream’s capacity for innovation. With engineering

talent in both Beaverton and Bangalore, we will benefit from significant additional resources to both innovate and deliver to the needs of our customers.’ www.fortive.com www.tek.com www.telestream.net

NEWS: PROJECTS

MCEC expands its concert offering AUSTRALIA: The Melbourne Convention and Exhibition Centre (MCEC) has invested in a new line array system to expand its offering to concert and tour promotors beyond hosting the major expos and conferences that it is well known for. Supplied by CMI, the new Adamson S10 system gives MCEC the ability to turn all of its major spaces not currently fitted with a concert PA into venues for major musical acts. ‘Over the years, we’d invested heavily in the tech installed in our meeting rooms but hadn’t yet secured a concert-quality PA that we could bring in and out of our exhibition bays,’ explained Michael Walker, infrastructure and equipment manager at MCEC. ‘Expanding our visibility in that market has been a focus of our management team for a while. Our Plenary fills a nice position in that market and has been successfully picked up by promoters, but we also have 39,000m2 of flat-floor concrete exhibition bays that, with appropriate acoustic treatments,

draping and theming, are excellent for live performances. Melbourne’s been losing some of those spaces, and we’re looking at where we can fill the gaps.’ The complete system purchased by MCEC includes the S10 main line array modules, in addition to E119 subwoofers for low-end support and the manufacturer’s first Milan-ready speakers, CS7p dual 7-inch, for in-fill. Completing the package are Lab.gruppen amps with Lake processing. ‘It’s about expanding what we do and can offer our clients,’ furthered Michael Pfundt, audio specialist

at MCEC, who spearheaded the project to add to MCEC’s PA capability and supervised all product assessments and evaluations, eventually recommending Adamson. ‘There were a lot of reasons to choose the S10 system,’ he added. ‘It’s smaller than most competitors, which is advantageous when rigging, and for sightlines; it looks good in a corporate environment and doesn’t get in the way. With that, it’s incredibly powerful for its size, throwing 40–45m. It produces a natural sound in the vocal range; very clear with none of

the harsh high end you often hear in line arrays that exaggerate high frequencies to achieve their throw distance.’ Walker reports already seeing an increase in interest generated by MCEC’s new S10 system. ‘MCEC has been pursuing and is also being approached by promoters in the musical space. Adamson has made a large impact in the market with the S Series and, as such, are now one of our strategic partners. MCEC invests in staying at the forefront of technology, and Adamson ticks that box.’ MCEC has also undergone an upgrade to a networked audio system. The upgrade was completed by avt and featured a BSS solution from Harman. BSS’ redundant BLU link protocol has been employed for the network. It was chosen for its adaptability and capacity to incorporate multiple network streams of different types while simultaneously carrying all audio signals. The protocol comprises two cables and automatically switches if one of the network legs fails. www.adamsonsystems.com

0776 Plus equipped with APG

CHINA: TR Audio continues to install nightclubs throughout China with APG sound systems. The relationship between the systems integrator and French manufacturer began two years ago and, since then, the running total of clubs installed with APG gear is nine. The latest is the 0776 Plus club, which is part of the same chain as 0760 Plus in Zhongshan, which was installed with an APG system last year. Located in the city of Baise in Guangxi, 0776 Plus has been equipped with eight 4000HI and two 4000LO speakers from the APG4000 Series. TR Audio also installed TB218S subwoofers for low-end reinforcement, eight SA30:2 amplifiers for power and three DMS48 digital signal processors.

www.avt.tech www.cmi.com.au

www.apg.audio

www.harman.com

www.traudio.cn

www.mcec.com.au

UNITE THE PEOPLE DIGITAL WIRELESS COMMUNICATION SYSTEM

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• Wireless Microphone • Interpretation Application • Assistive Listening • Guided Tours www.beyerdynamic.com/unite

24 PRO AVL ASIA July–August 2019

NEWS: PROJECTS

Lawo scores a run with the IPL

INDIA: The 2019 Indian Premier League (IPL) season is underway, with Star TV broadcasting games as part of its five-year rights deal that started last year. While several changes have been made to IPL broadcasts since Star TV took over, including the adoption of a brand-new studio for 2019,

the broadcaster is still using Lawo solutions, which were first adopted for league shows in 2015. Lawo’s previous involvement with the IPL saw the first broadcast of a match in 5.1 surround sound in 2015 thanks in part to Lawo mc²56 digital broadcast consoles

with HD Cores. This led to 11 more mc²56 consoles and several Lawo V__pro8 video processors being employed to provide an 8x8 video matrix, and 384x384 audio matrix, Dolby E encode/decoding and SDI embedding/de-embedding. In the new Star TV studio, audio is centred around a 48-fader Lawo mc²56 audio console installed at the star t of this year. The initial installation for Star TV included a Lawo Compact Core three DSP cards, a Ravenna card as an IP link to a remote Lawo Dallis inter face, a Dante card for inter facing with external Dante devices, and a MADI card with AES I/O for internal and external connections such as from MADI to V__pro8. The Dallis I/O frame suppor ts 48 mic/line inputs, 48 line outputs and 16 AES I/Os. The setup also uses Lawo’s V__pro8 video processing toolkit for audio de-embedding/ embedding and also a Dolby E option for surround production. www.lawo.com

Java Jazz Festival relies on AJA INDONESIA: Jakarta-based systems integrator PT Interindo Multimedia has led all broadcast operations for the Jakarta International Java Jazz Festival since 2006, employing AJA equipment for streaming, video and audio I/O, fibre transmission, frame synchronisation and conversion since 2007.

During this year’s livestreaming, the SI used AJA’s FS2 dual-channel converter and frame synchroniser for HD colour correction and audio embedding at each of the main event stages. Signals were transmitted to the master control room via AJA’s FiDO-TR 3G-SDI fibre transceivers, which feature electric isolation to eliminate ground loop issues.

For the live broadcasts, HD video signals were also routed to the master control room via an AJA Kumo 3232 router. In the master control room itself, AJA’s Kona LHi multi-format video and audio I/O card bridged incoming signals to the editing and effects software for live cosmetic clean-up and the addition of graphics, as well as handling the livestream to social media platforms. For livestreaming of line cuts to YouTube, signals were recorded and distributed live to the CDNs by AJA’s standalone Helo H.264 streaming, recording and encoding device. ‘Helo is the most stable encoding solution we’ve used to date, saving our team time and money – and taking the headache out of our livestreaming workflow,’ said Djundi Karjadi, general manager at PT Interindo Multimedia. ‘Since integrating Helo, we no longer have to worry about downtime or equipment per formance.’ www.aja.com

the exceptional IP console

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July–August 2019 PRO AVL ASIA 25

NEWS: PROJECTS

L-ISA brings LA Orchestra closer to Seoul KOREA: The Los Angeles Philharmonic Orchestra (LA Phil) recently performed the music of John Williams at the Seoul Olympic Park Gymnastics Arena (KSPO Dome) as part of a global tour. As the musicians performed scores from films such as Star Wars, Indiana Jones, Harry Potter, and Jurassic Park, the audience was subjected to an immersive audio soundscape from an L-Acoustics L-ISA setup, as well as images projected onto giant screens. The L-ISA setup was specified by Fred Vogler, a Grammy Awardwinning sound designer and mixer who regularly works with LA Phil, and provided by Seoul Sound. ‘I’ve attended several L-ISA shows and had already mixed deadmau5 with an orchestra in L-ISA a year ago,’ said Vogler. ‘When I discovered there was strong L-Acoustics support in Seoul, I immediately enlisted the L-ISA team for design and coordination. It was an opportunity to use a much bigger system and I was extremely excited to hear all of the possibilities.’

all important for an impactful, certified L-ISA experience,’ said Koh. The setup comprised seven Kara arrays, each formed from 15 elements, for the main L-ISA Scene system above the stage. Two 12-element Kara arrays and a pair of 10-element K2 out-fill arrays ensured coverage for the audience areas outside the main L-ISA zone. Two arrays of six KS28 subwoofers were arranged in an end-fire configuration, L-Acoustics specialists Alvin Koh, head of application for Asia, and L-ISA application engineer Carlos Mosquera helped with the system design. Realising that the KSPO Dome would present challenging acoustics, they conducted an accurate modelling of the venue in L-Acoustics’ Soundvision software using the L-ISA Tools feature pack to find the right solution. ‘In addition to coverage, some great evaluation features have been added to Soundvision for elements relevant to perception, such as hyperrealism and immersion –

Analog Way employed for Wealth Forum THAILAND: KS Plus Light & Sound Co provided technical AV support for the 2019 SCB (Siam Commercial Bank) Wealth Forum conference and awards dinner in Bangkok, staged at the Impact Muang Thong Thani commercial complex. As several Analog Way solutions were employed, the French manufacturer’s Hong Kong office assisted by providing Ascender seamless switchers and videowall processors, and Pulse²-3G and Smart Quad high-resolution mixers and presentation switchers. ‘We have been using Analog Way equipment since we started our audiovisual department and have confidence in their products,’ explained Nok Tan,

general manager of KS Plus Light & Sound System. ‘For the main conference in the Grand Diamond Ballroom, we used two Ascender 48 - 4K units and an Ascender 32-4K to drive a curved LED videowall measuring 31m x 3.5m. The videowall had many layers of 4K imagery and the Ascenders helped us achieve the client’s goal.’ A trio of Pulse²-3G systems and a Smart Quad drove the displays in the forum’s breakout rooms. ‘The Analog Way equipment was integrated with our overall AV system to take inputs from the live video feed and live Lucky Draw software,’ Tan added. www.analogway.com

26 PRO AVL ASIA July–August 2019

located just above the centre Kara scene array. With careful time alignment of the two arrays, the team repor tedly achieved sub spectrum consistency for the entire audience, as well as rejection for the stage area. ‘This venue was designed for use as an athletics facility, not a music venue,’ said Doo Soo Park, the team leader at Seoul Sound. ‘With a traditional L–R system, it is very hard to achieve linear sound pressure levels and frequency response from front to back. However, L-ISA technology solved that.’ The FOH mix used L-ISA objectbased positioning to highlight the location of each instrument. ‘The conductor and the orchestra were extremely complimentary about the arena experience with L-ISA,’ added Vogler. ‘They all felt the difference onstage. It gave them a lot of good energy back from the audience.’ www.l-acoustics.com www.seoulsound.com

Rivera International serves the sound for Playboy INDIA: The Playboy Beer Garden in Pune has been equipped with a sound system comprising solutions from NOVA, Symetrix, ToneArt and Pioneer DJ, which reinforce live performances and DJ sets while patrons enjoy a meal with beers brewed onsite. Rivera International installed the sound setup, having conducted a detailed acoustical analysis of the space. Rivera International also serves as the distributor for the NOVA and ToneArt brands in India, and therefore knows their products well. The installation comprises NOVA M5 Maxline line array loudspeakers and E218 subwoofers at FOH. Meanwhile, NOVA’s Visio VS 12 MKII loudspeakers, KD 12 and iC12A loudspeakers have been placed around the venue as surrounds along with VS 18 subwoofers. ToneArt R Series amplifiers power the system, while a Symetrix Jupiter 8 DSP control unit handles processing and system management. A Pioneer DJ Nexus 2 system has been installed in the booth for resident and visiting DJs. ‘When we first met with the owners and management of Playboy Beer Garden, the first thing they mentioned to us was the need for an

absolutely adept sound system; cost not-withstanding,’ said Rajesh Sadarangani of Rivera International. ‘Considering the physical dimensions of the space, the most critical aspect for us was to ensure that we have a system with loudspeakers that were not just aesthetically pleasing, but also delivered power with optimum dispersion in a manner that would cover the entire venue. They unanimously agreed on the system we proposed comprising

loudspeakers from NOVA driven by amplification from ToneArt, as this was the only system that perfectly met the acoustic requirements of the venue and the quality and performance parameters set by the owners and management. Precise positioning of the speakers allows us to cover the entire space, and also effectively solve any challenges that were envisaged.’ www.riverainternational.com

IE 400 PRO IE 500 PRO

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NEWS: PROJECTS

Vue reinforces OPPO launch Mahajak gives Toyota some Buzz

The hall THAILAND: The ninth Toyota Buzz branded car dealership has opened in Thailand, along Bangkok’s Vibhavadi Rangsit Road. The facility doubles as the car manufacturer’s head office and Mahajak was called in to supply an array of AV solutions. ‘Mahajak was responsible for the audio and visual system design, equipment supply and installation in the boardroom, hall, fitness suite and sky garden,’ explained the Mahajak team. ‘The customer required audio, visual and video conference system microphones with a clear sound for seminars, grand opening car launches, company activities and events. This site would serve as a reference for others in the future. It has two buildings with seven storeys and an underground car park. One building is used as an office and showroom, while the other is used for after-sales service.’ Mahajak first installed Shure Microflex Boundary microphones and eight JBL Control 14C/T ceiling speakers with a pair of JBL LSR 305 MKII enclosures in the boardroom. Meanwhile, in the hall, the AV systems can be split between seven zones and controlled via a tablet. The hall is used for a range of activities and can seat up to 1,000 employees and visitors. Much of the equipment, such as JBL AE Series speakers, was chosen to blend in with the décor. Shure handheld and headworn microphones were supplied, while a Uniview LED screen and Panasonic PT-EW730ZLE projector both form the visual setup. The fitness suite is divided into three zones: the public area, the yoga room and a

spinning studio. JBL Control Series speakers cover the public area, with power from Crown CTS Series amplifiers and BSS processing. The yoga room has also been equipped with JBL Control speakers, at the front and back, as well as Shure wireless microphone for the instructors. Mahajak also installed LED stage lighting comprising Lightsense JW-1810-4 PAR LEDs. A similar setup was implemented in the spinning

CHINA: Chinese mobile phone manufacturer OPPO recently launched its Reno series in an event at the Mercedes-Benz Arena in Shanghai. Rental company Lavtech AV Technology supplied sound reinforcement in the form of Vue Audiotechnik’s al-12 dual and al-8 dual line array speakers and hs-221 dual active subwoofers. ‘OPPO is famous for the sound quality [of its handsets], so it has very high demand for sound,’ explained Wu Jiacheng, technical director of Vue China. ‘This conference showed scenes in high definition, in addition to playing back in Dolby Atmos. There was also a video to highlight the sound zoom functionality of the phone when using it for recording. Therefore, the sound system in the arena needed to have excellent high-frequency resolution and be able to extend to a very low frequency, while at the same time having enough punch.’

Wu won the bid for the project with his Vue solution. The main system was formed from eight al-12 cabinets flown to the left and right of the stage. Four al-8s were flown on each side for front-fill, while another four-perside ser ved as monitors, hung above the stage. The subwoofer array consisted of six stacked hs-221s per side, for a total of

Lavtech’s Guo Ruijian and Vue China’s technical director Wu Jiacheng

12, and two al-12s were placed on the each side for a front-fill punch. A pair of amplifier racks, each containing six Vue V3 three-channel digital amplifiers, powered the system, which was managed by the SystemVue network monitoring software. A Yamaha CL5 was employed at FOH. ‘Because a ber yllium diaphragm is difficult to make, there are not many speaker manufacturers tr ying this material on the market,’ he explained. ‘But a tweeter made with a ber yllium diaphragm has a higher resolution than the conventional aluminium or titanium diaphragm. This meant that the al-12 and al-8 per fectly met the requirements of the conference. In addition, the low frequency of the hs-221 can extend to 25Hz, giving people a power ful punch.’ www.vueaudio.com

ViuTV chooses Calrec The fitness suite studio, with the addition of a 55-inch Samsung videowall that is used to simulate the effect of cycling along a road and eight JW-1810-4 PARs. The sky garden is a rooftop space that required weatherresistant equipment. Mahajak chose to install JBL Control speakers and Crown CTS power amplifiers. ‘The customer tested the system and it all works as they requested,’ confirmed the Mahajak team. ‘The customer was satisfied with our work as well as the quality of the equipment and sound.’ www.mahajak.com

28 PRO AVL ASIA July–August 2019

HONG KONG: ViuTV has invested in Calrec’s Artemis Light, Brio12 and Brio36 consoles, as well as a range of the British manufacturer’s interfaces as the broadcaster prepares to transition to audio-overIP. Commissioning, consultation and support was provided by Calrec’s Hong Kong distributor, Jolly Pro Audio. ‘The consoles are incredibly userfriendly, vital when being used by a range of operators across a variety of output,’ said Mike Lau, assistant vice president of production and facilities at ViuTV. ‘They are very reliable with great sound quality. We also wanted to be able to satisfy our current networking requirements while also preparing ourselves for an IP future as that transition occurs across our wider infrastructure. Calrec’s technology and after-sales service gave us confidence in making this change.’ The Artemis Light has been set up in Studio 1 for use on entertainment programmes, such as gameshows and live

performances, while the Brio12 serves as a backup. The Brio36 handles talk shows in Studio 2. The broadcaster uses MADI for intercom connectivity and Dante to connect to a live PA mixing console for multitrack recording and wireless mic connections. ‘As a new customer, ViuTV was looking for a fresh and modern audio setup that will help them transition to an IP-based environment,’

commented Calrec international sales manager, Anthony Harrison. ‘Helping broadcasters make that transition has been central to our product roadmap for some considerable time. We’re also very pleased that ViuTV recognise the quality of our consoles and the service that we’ve provided, in combination with Jolly Pro Audio.’ www.calrec.com

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ALLEN&HEATH

NEWS: PROJECTS

Soundscape goes live in Hong Kong HONG KONG: A Team Plus (HK) Limited supplied the technical production for the recent joint concert at Macpherson Stadium in Hong Kong, featuring Naked and lay, more reverb, and tfvsjs. d&b Greater China sent Chi Wah and Allen Tin to support the gig, which was the first live concert to use d&b audiotechnik’s Soundscape technology in Greater China. ‘When I started organising the live concert, I hoped to add some new elements to give the

audience more consistency and the feeling of being surrounded by sound,’ explained Lik, the owner of Backlinestore, which organised the concert in collaboration with White Noise Records and Exclamation Music. ‘So, it was per fect timing when d&b launched its Soundscape technology.’ Seats were removed for the concert, allowing the venue to accommodate 800 standing audience members. Five line array

L–R: Kewell Lee, Zeno Yeung and Wah Li at FOH

New lighting for ACM’s Pavilion AUSTRALIA: The Pavilion in the Arts Centre Melbourne complex has been equipped with a new lighting rig comprising Robe VIVA CMY Spots, ParFect 150s and LEDWash 300+s. The setup included six of each and allows the Pavilion to now stage multiple events a day, from conferences, talks and debates to presentations, gala dinners and awards ceremonies. ‘The Robes have really enabled us to maximise the space properly and increase its utilisation by 60% or more,’ said Jason Fordham, Arts Centre

Melbourne’s technical manager for corporate events. This is because the new fixtures enable drastic changes to the look of the room. The fixtures were chosen by Arts Centre Melbourne’s head of lighting, Bernie Manchee. ‘I chose these fixtures for their versatility and light weight,’ he explained. The fixtures were demonstrated by Simon Tye from Robe’s Australian distributor, Jands. www.jands.com.au

clusters were flown 7m above the ground, each comprising four d&b Y8 loudspeakers above a pair of Y12 cabinets. An array of six B2 subwoofers provided low-end reinforcement and a further eight Y8s were placed in front of the stage as front-fills. In addition, 18 Y7P loudspeakers were set up on the left, right and rear walls of the venue to deliver 360° playback. ‘The system gives the show more power with a surround feel,’ said Wah Li, FOH engineer for tfvsjs. ‘When you are in stereo, the sound comes from the front. Now it comes from all directions. This can help the artist produce new effects. For example, my band has three guitars. In the past, when there were only left and right channels, a lot of balance was needed to make the audience clearly hear them. Now you can easily hear the separation of the three guitars in different positions.’ Audio signals were sent to a DiGiCo S21. The console sent them via Dante to the d&b DS100 processor, needed for a Soundscape setup. The DS100 then converted the processed

Dante signal with delay and sound levels into an AES signal and on to the 13 d&b D80 digital amplifiers that powered the speakers. The initial system design was created with d&b’s ArrayCalc software. Lik also built a simulation system in his rehearsal room using the smaller d&b T10 dual 6.5-inch speakers, allowing the three bands to record for about two weeks. ‘Using Soundscape takes more time to prepare,’ he explained. ‘This is similar to lighting programming. The system configuration and

placement in the rehearsal room is the same as in reality, except that the size of the speakers is smaller than that used in the field. We needed to design the entire Soundscape in advance and record the movement of each soundtrack, save the show file and restore the effects in the venue, and, because the actual space and the speaker size are different, it has to be fineadjusted again.’ www.ateam-plus.com www.dbaudio.com www.dbsoundscape.com

Pixera two reveals the Silk Road HONG KONG: Hong Kong Science Museum has unveiled a new exhibit: a complex projection interpretation, 32m in length, depicting the Landscape Map of the Silk Road. Cosmo Pro AV designed, supplied and installed the technical solutions required, including a pair of AV Stumpfl’s new Pixera two quad media servers. ‘The Hong Kong Science Museum approached us to provide a comprehensive solution for the edge-blending projection,’ explained Cosmo Pro AV’s Jason Yeung. ‘The system needed to be flexible above all else, as the museum planned to experiment with multi-layered playback, bringing the traditional art pieces to life with animations.’ Along with the two Pixera two units, Cosmo Pro AV installed AV Stumpfl’s media server software

for edge blending and show control. The system remotely controls eight Vivitek DU7090Z laser projectors that beam images onto the 32m x 3m canvas. ‘The visual part of the system was not overly complex, but the museum required show control to be implemented without any external devices or hardware,’ Yeung revealed. ‘This played to AV Stumpfl’s strengths with the full

integration of Touch and AVIO. The Pixera two servers themselves provided a very price-competitive solution, and the compact chassis enabled minimum rack and storage space. AV Stumpfl media server software was chosen for this project because of its flexibility to integrate with Touch and AVIO, which controlled the audio level adjustments, scheduled on/off and projector on/off and status reports.’ AVIO was chosen to remotely control the projectors over a network because, once they were installed, the Cosmo Pro AV team had limited access to them and no IR signal could reach them. ‘As the lighting conditions varied constantly during the set up process, we were lucky to have the flexibility of the Vioso calibrator to adjust individual output colour adjustments and edge-blending curves for a smooth and seamless picture,’ added Yeung. ‘By setting up a wireless network across the Pixera servers, we enabled our programmers to wirelessly access and adjust the edge blends. ‘The client was happy with the overall performance of the servers, as they were very stable and only required one preventive restart during the entire exhibition period.’

www.robe.cz www.avstumpfl.com

30 PRO AVL ASIA July–August 2019

NEWS: PROJECTS

Amadeus brings The Long Gone Dinosaur to life CHINA: More than 180 Amadeus loudspeakers have been installed at the Beijing National Indoor Stadium for The Long Gone Dinosaur exhibit, due to open this year. The show details the rise and fall of the dinosaurs 65 million years ago and is expected to be open for the next 15 years. Amadeus worked closely with sound engineers, designers and artists connected to various French musical, theatrical and research institutions, including Théâtre National de Chaillot, La Gaîté Lyrique and

Sciences et Technologies de la Musique et du Son (STMS Lab). Support was also provided by the National Centre for Scientific Research, Sorbonne University, the French Ministry of Culture and the Institut de Recherche et de Coordination Acoustique/Musique, as well as Amadeus’ Chinese distributor, Guangzhou SignKing ET. ‘From the beginning of the project, we decided to create a strong team, including people with complementary talents, sensibilities, experiences and careers; most of them coming from prestigious French institutions, including Marc Piera (Théâtre National de Chaillot), Jean-Marc Harel (La Gaîté Lyrique), Guillaume Jacquemin (Buzzing Light), Johan Lescure, Clément Vallon and Thierry Coduys among many others,’ said Gaetan Byk, marketing manager at Amadeus. ‘This project is a great joint and global success, a shining example of the rare savoir-faire and technical skills that we have in France.’ Harel led the onsite installation of the Amadeus speaker systems, overseeing rigging, safety rules, audio simulations and calculations. Meanwhile, Piera aligned the entire system. The speaker system is based on two main frontal speaker antennas. The upper one is formed from eight clusters of four Diva XL line arrays with one Diva XL SUB. The bottom antenna comprises 13 clusters, each one featuring five Diva XS line array systems paired with a single Diva XS SUB. The left and right sides are covered by four arrays of four Diva XLs with single Diva XL SUBs. In addition, 32 UDX 15 point source speakers are used as top surround loudspeakers. Completing the setup are 12 Maestro II horn-loaded subwoofers,

paired with two Lab Gruppen C88:4 amplifiers offering a maximum SPL of 155dB at 25Hz. Coduys, Jacquemin, Lescure and Vallon visited China to create the sound design, while also mixing and spatialising the audio content. The team combined classical music with hundreds of sound effects including rain, thunder, wind, storms, meteor strikes and crashing waves. ‘We decided from the beginning to work with our own sound materials, based on our own original recordings, and then we

The Little Big One UNILINE COMPACT SYSTEM UC206W - UC206N - UC115B

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enhanced them using different modular synthesis systems,’ revealed Coduys. ‘Some of the sound material was recorded using Ambisonics recording techniques. We have been using Amadeus’ spatial sound processor, Holophonix, to mix and reverberate sound material, played from a Pro Tools HD sequencer, using highly advanced 2D and 3D sound algorithms designed at IRCAM-based STMS Lab. The Holophonix setup featured a combination of six spatialisation busses, each one running one of the different sound algorithms available, including Higher-Order Ambisonics (2D, 3D), Vector-Base Amplitude Panning (2D) and Wave Field Synthesis.’ The IanniX graphical open-source sequencer was used to design and write spatial trajectories in a 3D space with direct manipulation of the sound and music score. The audio creation was encoded using Holophonix and then recorded on a 64-channel digital TASCAM multi-track recorder/player.

With the original Uniline, APG revolutionised the industry with true modularity and the ultimate benefits of scalability. Now, APG’s Uniline Compact delivers those same benefits in an ultra-compact format. From intimate venues to mid-sized shows, APG’s Uniline Compact is the one system that will cover it all without any compromise on sonic performance.

www.apg.audio

www.amadeusaudio.fr

July–August 2019 PRO AVL ASIA 31

NEWS: PROJECTS

Budee equips new esports venue CHINA: Beijing Pacific Budee has supplied a Martin Audio system to a new venue specialising in one of the fastest-growing markets in the country: esports. The Match Esport Arena in Shanghai, which is owned and run by Beijing Match-Light Interactive Entertainment, has been set up to accommodate multiplayer video game competitions that can be streamed live in front of an audience. Competitions can

take place between professional players, amateurs playing as individuals or as a team. The main system, which can be reconfigured depending on the event, consists of eight W8LMI line array enclosures, two W8LMDI vertically arrayable enclosures and four WS218X subwoofers, plus an Avid SC48 control sur face. Budee handled system design and installation, and the venue is being run by Chaolong Zhang.

A video game competition in action ‘We needed a really good quality sound system here as the sound is so important for gaming,’ said Zhang. ‘We have around 10 events a month, including

weekly cybergames competitions and larger tournaments, and we also host press conferences, corporate events and government activities. Sometimes there are

several teams playing against each other, other times there are multiple players – up to 70. Some of the top gamers are coming to play here.’ Depending on the format of the competition and amount of players involved, up to 1,000 audience members can be accommodated in the hall. The Match Esport Arena is based in a new business park that has been set up for innovative new companies. Beijing Match-Light Interactive Entertainment built and owns the entire building, which also has 11 VIP rooms where live streaming of events can be watched. www.budee.com www.martin-audio.com

Lighting upgrade for The House of Dancing Water MACAU: Franco Dragone’s The House of Dancing Water show in Macau’s City of Dreams has received a lighting upgrade with the installation of six Robert Juliat 600W LED Oz followspots. The fixtures were supplied by White Light Ltd via Robert Juliat’s local distributor, Pacific Lighting (HK). The show’s lighting designer, Luc Lafortune, originally specified Robert Juliat Victor followspots and 14 RJ D’Artagnan profiles when the show first opened in 2010. During the course of more than eight years, they have played 10 shows a week and withstood the moisture-filled environment created by the waterbased spectacular thanks to the maintenance from the lighting team led by Karl Jenkins. ‘Robert Juliat provides some of the most optically accurate luminaires in the world and, for

this reason and their amazing longevity, they were chosen for the original build,’ said Jenkins. ‘There was no question that the replacement for the Victor followspots, after eight years of excellent service, would be

anything other than another RJ fixture. With the large push towards sustainable shows and LED technology across the board, the RJ Oz is the best fixture on the market by far for our needs and, with its release aligning precisely

with a major upgrade of the show, it was a perfect candidate for the replacement.’ Pacific Lighting (HK) provided a demonstration of the 600W LED Oz followspots so that The House of Dancing Water lighting team could determine that, as a replacement, they would retain the production’s initial design. ‘The performance of the Oz when seen side-by-side the Victor exceeded our expectations and the light output was more than suitable for our needs,’ said Jenkins. ‘Brightness, beam quality, robust engineering, reliability, ergonomics, power consumption – all of these were considerations that we took into account when making the decision, but, for me, it was the power from the LED that ultimately won me over.’ As with their predecessors, the six Oz followspots are spaced

evenly around 270° of the circular grid above the audience. They are used to highlight the show’s main protagonists. ‘The production has an incredibly heavy and meticulous followspot design as is the case with many of Luc’s designs,’ explained Jenkins. ‘For this reason, an elegant yet powerful LED fixture was required to achieve everything from the beautiful low-light character highlights to high-energy powerful punches of light. In addition to this, from the operators’ point of view, Oz’s lack of ballast and the general heat reduction is also a great asset, and the electronic dimming in the LED fixtures is based on the same physicality of the existing dimming system, so makes for an incredibly simple transition for operators.’ www.robertjuliat.com

Xilica Solaro FR1 finds a home at The Stables AUSTRALIA: Bendooley Estate, a destination resort in the Southern Highlands of Australia, has built a new event space for hosting family and corporate functions: The Stables. With a wide range of events to accomodate, The Stables required an audio setup capable of handling different configurations, with easy-touse control panels that can be operated by non-technical staff. Therefore, project integrator Rec01L Audio opted to install a Xilica Solaro FR1 DSP. The Solaro FR1 system at The Stables has been configured as a 6-in/14-out system. Its inputs include wireless microphones and a BGM system, while the outputs include power amplifiers that feed the loudspeakers in the reception,

bar and on the dancefloor. The audio setup features Community Professional loudspeakers and amplifiers from Australian Monitor. It has also been equipped with a rear module that enables the transport of 64x64 channels of Dante networked audio for when the venue hosts conferences and other corporate gatherings. A pair of XTouch control panels have been installed for ease-ofuse when controlling the system. In addition, Xilica’s iOS/Android control app has been installed on an iPad for remote control capabilities. ‘Audio quality was always going to be a must, not least because the Bendooley Estate has a long history of hosting premier wedding receptions

32 PRO AVL ASIA July–August 2019

and family events, and they are going to be an important element of the calendar going forward,’ explained Rec01L Audio’s managing director. ‘But we also needed real flexibility of configuration and audio quality

for the corporate events that The Stables is expected to host. After investigating the current Xilica range, we were in no doubt that the Solaro FR1 could provide the flexibility required to cope with the various speech, live

per formance and background music sources. The capacity to support Dante networking was another benefit, as was the general value for money.’ www.xilica.com

PRODUCTS PRODUCTS NEWS: PROJECTS PRODUCTS EDUCATION DISTRIBUTION NEWS FEATURES: LIVE PRODUCTS

FEATURES: COMPANY PROFILE

SEMINAR DIARY Bose unveils ShowMatch Shure DIS52EN training provided inreturns New Shure’s Mighty conference debut Sun rises for Combining and simplicity Audac takes the wraps offdBTechnologies Noba Apart Audio The evolution ofMeyer EV Williams AVpower adds Bluetooth connectivity Meet MR Bose updates Stage TecDelhi doesn’t KRK updates V-Series to thebuilds Opera JAA Systems and ControlCenter clicks into place ControlSpace software bypass Sound in India Calrecrehearsals network

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The series diaphragms made from honeycombNew Delhi-based distributor features include SST (Signal comprises of four models. The A further benefit comes from current challenges,’ enthused and efficient,’ said Neeraj Chandra, we didn’t want just another active coverage of 120° and 40° 180° at 1kHz and 80° at 4kHz. digital mixers owing to the price limitations of a true broadcast you cannot survive on good friendships alone – you need to now principals have a close collaborative received, we’re absolutely positive connecting the flameproof input the latter part of 2017 that Meyer include compressor, limiter, Anaheim, USA placed quality interpretation atin the Mighty audio source. the app tounits automatically discover free in-person seminar onserve senior market development portable applications, with fieldPL 50EN product, the Type 30 midfield studio reportedly easy to install with antop mastering and video and television via USB 2.0, wireless and includes to sandwich material, well as Mr was selected on basis of its Synchronised Transducers) MA120 andAES3, MA240 offer 120W series’ weatherproof Harish Sharma fromcredentials. Perfect Audio director ofC.T.O Sun Infonet. ‘Therefore, bass cabinet tothe be hidden the asymmetrical vertical coverage. In extensive Selectable wattage includes 30W,Laboratories digital audio mixer. Malaysian and regional broadcasters could consistently deliver products and designed support; you have to relationship with theasand consulting place byexperience, an internal magnet. that ourglobal initiative has worked outthe right as multiple presets options and output cables, a thermal Sound had parted ways with Meyer de-esser, noise gate, chorus, Dolby Craig Todd presents David Chan www.rcf.it of the agenda. As acorner,’ member of the MICE was selected tomanufacturer provide BluePOD gets its name from WaveCAST units in the room ‘Audio Basics for subwoofers, Meetings &in manager ofwell discussion and panel USB port. An Ethernet withbass a token partnership at aan Mediagrounp Academy changeable waveguides inreasoned compact and benefits from energy monitor. Although manufacturer postproduction. Itwith houses AES67/Dante AoIP. XLA and RCA asmodels mains, fillspaintable and Heinz’ Hedd Air Motion Transformer experience with other notable pro waveguide design, and the and 240W RMS output power All are and IP54 Sun Infonet, in association with Visual Systems. room’s darkest terms of its physical make-up, the board not easily afford athe full broadcast digital and go extra mile.’ community, which aligns with Meyer acoustic configuration by 7-inch loading Inbefore, terms of control, an angled fabulously –the both for the brand all forofalso signal routing and inputs. It Sound Australia, the flanger, phaser, tremolo, delay TEC Tracks comprises over 70 The ADT team with Calrec’s Brio 36 Shure Conferencing Network (SCN), event production and the small pod-shaped enclosure and thenfor select the desired Conferences’ allowed features anAudio integrated mixer with feature set. BluePOD Conference conference, Antony Lovell. ‘We for the audio stream port isfeatures also provided in the back enclosures allowing for either 70or star rating thanks to its green is relatively new, itformats was by professional connections feature. addition to monitors. tweeter design, and four of the audio brands, specifically Shure, aforementioned QuickSmartDSP. respectively, while each certified weather resistance. Shure MEA, organised this seminar product Stijn Vandebosch. array is manager enclosed inestablished durable ABS current analogue and live sound digital mixers, they In addition tofeatures distributing products that are right forattendees the market Sound’s growing emphasis on their preferred audio settings input panel gives users access as well particular as foralso the end users.’ also Bluetooth streaming has named Brands Australia and reverb functions. sessions and seminars, all taking Apart’s Mask6C loudspeaker Thai conference equipment and aas flawless conference experience housing awhile patent-pending B-WAP channel. WaveCAST supports both the oppor tunity to 500W gain an DSP functions, including Acoustic Mate is atobuilding complete audio solution welcome all balanced interested parties being delivered. As a result, THE CDX14-2410 is Celestion’s frequencies, compared with panel for and managing 100-degree horizontal coverage. The and www.shuremea.com credentials. Klaus Heinz, founder and former head With 38mm thick frontplates, Featuring onboard perAVIXA in Thailand, PT Goshen Swara latest generation ICEpower 300W which Sun Infonet has represented Finally, and away from live two mono mic/line An IP65 weatherproof version with a view to bring working The new cabinet Audac’s plastic, the ported subwoofer were presented with auses lack of capacity broadcast-centric based on customer feedback, JAA.S has started to become commercial installation. At the same through the onboard USB port. from above to make adjustments ‘We continue to focus on engaging and Artemis platforms broadcasters at RTM, Astro Awani and of background music or musical its new Australian distributor. place during NAMM. Topics will BOSE PROFESSIONAL has Tap tempo delay and a new functionalities include Sun Infonet and Shure MEA hosted rental service providers Mighty MICE for the high-level meeting. The SCN ISO 20109-compliant interpreter (Bluetooth access and multicast Renewal Unit and achieve Echo Cancellation. mixer that pairs thedirectly B-WAP with the wishing to recap onStagecraft the benefits of unicast assistance can be latest ultra-low noise compression conventional compression designs, multiple systems, each of which cover recording, live sound enclosures allow for the formation www.suninfonet.net Each available in5.25-inch black or white of R&D at ADAM and his the cabinet’s construction makes inright Indonesia and channel bi-amplified electronics amplifiers. since 2003. sound, the manufacturer has inputs, four music inputs isCTS available for the professionals in touch with WaveDynamics technology, which is enclosed inAudio wood. Assembly features. Brio changes this asand itson, comes with 36 faders incan aCanceller, small involved with its(stereo own research and development. Anetwork recent time its personal experience inAux live The Noba sub be paired with and connections, and includes with the market through various Media Prima chromatic in Kuala Lumpur. ‘We happened to be in hearing the accompaniment directly from Shure DIS training inThe New Delhi The deal extends into New Zealand, released a wireless new version of tuner are built-in. Acoustic Echo VoIP, facilitated simultaneous interpretation member provided 10 MXCIC units to console is equipped with three point) transceiver. The B-WAP is configurations and can support accreditation in the Shure includes four inputs (two mic/two BluePOD Mate our global network, allowing them optimised hearing loss, reportedly resulting in athe much driver. It isfor awide low-profile, can virtually support more than 60 looking lighting, and will include afitrange MARTIN AUDIO’S R&D team has of‘Sun DeltaQ, constant-curvature, or compact and usablehas inside or out, the mastering engineer Knop, forline, 530mm xthe 280mm high x It Lab International inEvid-S Philippines. including the manufacturer’s Meanwhile, the frequency response Infonet has aFrederik fantastic team,’ also unveiled its family of mono summed), aferrite mono loudspeaker cabinet and 10- MMS allows to that set up the optimal is ControlSpace via ausers symmetrical aluminium physical footprint can into applications. Not only collaboration with Media Alliance given birth to the performance and touring will connect Audac’s Ateo2 full-range speakers EV’s QuickSmartDSP interface. place at the right time atConference Astro Awani, as they were to any mobile The Bluetooth where Audio Brands will partner with its Designer send 1 has adevice. dedicated reverb PSTN/POTS, USB, Conference www.audac.eu ofopting keynote by toSandeep debut Shure’s Microflex simultaneous outgoing language andthe as the equipped with aconfigurations. Bluetooth up tosubwoofer 1,500 clients, depending on Integrated Systems Cer tification line), two outputs and two one of Controller. to grow their conference rental music can be optimised for magnet version of the CDX14lower distortion performance. transmitters simultaneously. reinvented the Blackline series J-shape line-array AMATE AUDIO has added to its high-frequency channels, delay cabinets are constructed from ABS both of whom bring anumber wealth studio will handle the full range of Calrec 338mm deep dimensions and aand Focusing and DynO algorithms is between 32Hz and 50kHz and explained Braganza, Meyer installation enclosures. Available four of the bespoke 6-inch drivers balanced paging mic input, an inch models. subwoofer pole with integrated does it offer aaddresses. large of4.2 channels provide with lots of line I/Os and interpretation Lite. ‘This resulted from listening to what our customers wanted with key market.’ This allows navigation of upgrade system their 24-hour news control rooms existing QuickSmartMobile app allows Pacific AV. software for audio conferencing itsthat own, while a channels master output Room Router, Room Combine Complete Interpreter Console (MXCIC) Khmer, Lao,via Burmese, Thai eight relay languages on aof large aptX HD transceiver proper network Program. 25W amplifiers. Additionally, the capsules manufacturer business.’ high-fidelity playback and voice 2420 and comes with aleft-to-right Inmake addition, the lowercone, Interchangeable with the30 BlacklineX suite passive Each full-range speaker incorporates Nítid series with the N26, N36 and Automatic Loudness Compensation. plastic and use Apart’s monitoring expertise to the table. products and offer support for weight ofor23.3kg. housed inside asupport. 12-inch vented the Type isyears also equipped with Sound’s sales manager for India. in black white, the series has respectively, meaning that all three emergency input and wiring. Atlong-range each end of the pole, the of sufficient DSP, but itsexpanded networkable design allows broadcasters to represents for their daily practises. The SMS Comms acts as aof monitor for parameters anAGC, LCD display console was more than 10 old.’ wireless configuration, control and Audio Brands Australia installations and its EQ helps compensate for venue Group, Enhanced linkable for the first inEMB2S Asia. Vietnamese languages. Inwell has earned colour screen. Braille labels and and provides up toengine 35m of The system will ship inautothree has introduced the WaveCAST As sponsor ofmaximum the SCN, Shure be set speech 2.4-inch diameter, compression ratio are included the handheld loudspeakers. According to the four extended-HF An analogue three-way system, theinto In terms offor specification, the N26 N46 systems that together make patented Universal Clickmount new and existing customers in its can the RSX12M packs a 2.5-inch voice awww.audiobrands.com.au modular input card system via ‘It is known forconnection its integrity for been designed with ease use for speakers have an input sensitivity priority audio routing onof the rear cable-free isand locked expand the time platform with more I/Os whenand needed.’ the audio signal, which detect a fault to trigger an alert. It with single-knob control, as JAA.S the trust of its clients and is called can upon monitoring ofwith up to six Evolve 50 several notable manufacturers, ToneMatch audio series Bose ShowMatch DeltaQ array acoustics. gated and gain-sharing www.electrovoice.com loudspeakers Under the theme offor ‘Sustainable www.shureasia.com/integrated_systems addition to providing comprehensive cues support Bluetooth broadcast coverage configurations. BluePOD Solo Wi-Fi-delivered listening supports theCustom by sharing intelligibility. presets is of said reduce edgewound, copper transmitter along with athe Shure manufacturer this represents ‘a six hours compression drivers together www.namm.org ASIA: Broadcast Solutions’ ongoing Type 30 is designed use during up afar, complete provides 121dB continuous SPL www.meyersound.com bracket, that allows thetocabinets respective countries. coil to drive the low frequencies, an empty slot onassistive the back of the In8dBu Jakarta and Hanoi its dedication to the brands that it demonstrated of (1.94V) and avisually maximum panel. MA30 and MA60, So Mr Chan and his team have the Brio36 isnetwork the first step in having awww.williamssound.com complete network control for TV to deliver the audible goods when required. ‘We had just of The including Earthworks, FBT, Mipro by unveiling ahigh-performance new 8-channel and The 4-channel T4S offers most mixers, simplified logic control www.Hedd.audio Security’, senior officials from 18 interpretation facilities, the fully Daysto switch impaired users. best practices and providing clad, aluminium air non-linearity adapter, while the bodypack isBrio console,’ reinvention for themixer modern era’. two 8-inch neodymium woofers. series of Broadcast Innovation column series. According to the (124dB peak) and operates inofthe www.suninfonet.net ‘After many months of searching to ‘clicked’ into place. while aChan 1- x 1-inch exit 1.77-inch companies up to represents. Also, with multiple offices input level ofteamed 20dBu. The speakers which offer 30W and 60W and radio broadcasters, butinfocomm-SEA-2019 it be cansimply also be adopted inGoshen industrial downtime our old tothe the and Rane. It now takes 4-channel mixer. of the from same features as T8S and AmpLink. There isresponsibility also David with the PT voice coil and and allow for equipped with a Shure-compatible, whereas CC-2 and CC-3 offer ring Designed for both installations Modules are available with 5-, 10-, Swara team AS PART of its promise to introduce company has made its IC6 and saw events staged in Jakarta and manufacturer, the systems offer 58Hz to 20KHz frequency response. and meeting with potential All four models also include voice coil compression driver handles demonstrate a wide variety of spread across India, it will provide are finished in multi-layer birch power respectively, have as been settings such offshore oil and gas rigs. So with this product Ali,with senior assistant vice president, The new CSD version 5.0.1 – some differences. They technical support for ControlSpaceexplains EX-UH, Rizalbut 6-9 FEBRUARY aIt simplified 1.4-inch exit higher maximum four-pole Mini-XLR connector. volume source selection and portable applications, theEither 20-degree vertical coverage, aor raft of new products during 2017, Ecler spherical pendant Hanoi plus recently with support from ‘sonically cohesive, scalable weighs and measures partners10kg for Calrec in full Thailand, overload protection that It’s the highs. products and Meyer Sound customers with sound timely plywood asolutions resistant black even further. The front I’ve come circle back to 3-step my R&D engineering background. operation-management atsend Astro Awani. ‘With the help of JAA.S, which can be downloaded from are anEssentials auxwith count ofunder two, EX-4ML andA/B EX-8ML under-table SmartTV clients deliver size. The SPL. The driver alkaline orcoating. rechargeable lithium-ion volume plus A/B/C/D source series comprises four two-way whilst integrated Ecler has announced the loudspeaker available in–into aTheour facility partner companies Riedel, 534mm xdriver 250mm xprominent 258mm. solutions forISE a full range ofrated fixed and or The JAA Systems’ director also we decided work with ADT,’ reduces power toasand protect EAW that the stage monitor title Think Big, Start Small post-sale and support.’ polyurea panel features a demand rotary atostraightforward product,with but I’m really excited itnetwork will allow us weIHSE, were ableand to integrate the new console inand response to forThe even ifstates athe Nexus audio pro.bose.com –rigging has aisset of for outputs to either ¼-inch Dante endpoints. CTS atservice live channels including 4K and also features provides 50W batteries can be used with both selection respectively. Available in systems and three direct-radiating up to 24-box arrays. A compatible WHEATSTONE IS claiming its party outboard monitors,’ explained IW103 in-ceiling/innew black finish. The Zenon Media and Jünger Audio. portable applications’. N36 provides continuous SPLif it makes aFor station’s coverage. The proofnoted that PT Goshen was atilting wellsaid David Chan, director of JAA the transducer, able to impact offer ‘adownward uniform coverage Power to Scale. Both sessions processor provides theor diversity Sun director Neeraj Thebalanced company’s latest DSP is also volume control, while inputs to123dB test the market and an we can add more bring it onlineTRS very quickly.’ rehearsals with live event and is not yet connected. Finally, an newInfonet features including tools and stereo dual the Panaray MSA12X Amsterdam, CAMBODIA: second WX802_O outdoor wall speakers content protected Five of Audac’s CELO8 power handling aautomatically titanium transmitters, reportedly providing either black orOUTING white, these three subwoofers. matching-width, single AirAura X3 isCambodia’s the first processor Jeff Keith, Wheatstone DESCRIBED AS being particularly The ishigher described wall loudspeaker for manufacturer claims The two events were the first time system. The speaker is 8-inch the first (126dB peak) and operates in thethis.’ encrypted The systems contain aFROM 6-inch of-concept FM processor embeds established company in Indonesia. Systems. ‘ADT has asenior dedicated drivers that allow for Passive Technology, pattern ofCCX1295 105 x 105-degrees’ and focused on topics including delay andCardioid most FM processors can Chandra discussed how18-inch his company integrated into the speakers include one balanced mic/line products alongside JAA.S is nowToneMatch promoting new solutions a that combination BLOSSOMING FORTH ANto INITIAL BELGIAN was constructed from special fabric tousing resemble a castle, the sound reinforcement feeds. M/S decoder is algorithms, allowing designers links, designed tooptions modular steerable array Hard Rock Café has opened inofis famous that are designed to cope with the channels. ceiling speakers were installed due THE RS16000 rack from in 25kHz increments. Housed a and delivers that up seven hours of continuous models are an The X8effect ultra-compact, X10 subwoofer with atouring complete Netherlands to accomplish off-air monitoring, product engineer. effective for systems where as particularly effective inlow corporate and residential the IC6 isbroadcast ‘the perfect that Innovation Days had been member ofequipped the family, and full-range custom driver inline varying 53Hz todevelopment 19KHz frequency response. the diversity delay, aswith well as itsin ‘It has a good network and the right team of people who are passionate mounting and adiaphragm rotatable first introduced into the that the system latency is logo. as on streamlining the accept delay corrections from thirdhas developed close relationships with third-generation Class-D input, two music inputs and an As JAA.S isintroduced distributing several brands South East of technologies toto good outside traditional in 2010, the Daydream Festival for its gorgeous entire backdrop of which was shipped from thebroadcasting Netherlands Other new features available onthroughout input channels on configure both audio processing send digital audio to L1 Model loudspeaker, theCCX12 new version Phnom Penh’s new Exchange harsh tropical weather climate. With this new integration, to the combination of their sound dBTechnologies is a digital, rugged road case, the RS16000 has been deep-drawn 106dB sensitivity operation. With an operating intuitive interface and can fit into a compact, X12 and X15 highrigging accessories provides LF measurement real-time ‘However, when the targeted pattern control systems targeted buildings, sports and option for 70/100V andcustomers organised jointly andat a1S/II is bypartners additional ItMartin weighs 17kg and measures quantities, withoperation carbon fibre cones, measurement andwith correction, connections inismixing the broadcast and and have the technical expertise to The 70W Mask4C and Mask4CT company’s FL283 line array as 2.6ms to provide ‘transparency workflow and how broadcasters can onsite with consultants and systems amplification. The speakers emergency input. Alloff-air four Asia beyond itsmodels native Malaysia, Mr Chan enjoying developing applications. ‘It’s true that we are finding more live artistic concept and uplifting atmosphere, assoon well to as forjoined to block, China cost of RMB2 million and assembled by ininsoftware release 4.5 include all Stage Tecwhere consoles. and network ofisBose systems while receiving includes a be MSA12X device Audio’s BlacklineX Series EXTERITY strengthened Square building. The restaurant The entire setup is powered the gateways can provide EPG Electronic Programme Guide quality and slim grille design, 24-bit, true diversity, wireless includes six RS16000R receivers, for increased stiffness. performance over range of up tovia 90m ineight-inch, absence Attendees toHAS the ISE Show will 1-gang electrical box. The additional powered models are extension, including the ShowMatch correction of HD diversity delay monitoring, delay required, Fulcrum’s new CCX1295 pattern control is desirable, leisure centres, and low impedance sound solution’, were as lectures anapplications,’ 12-inch models said toand offer aA/V full rubber suspension and neodymium 875mm x the 250mm xameasurement 258mm. The within the audio processor. audio industry,’ he said. provide right level service and models feature amonth 4.25-inch coated module, while the coaxial in vocal monitoring applications’. implement future-proof solutions, integrators across India. ‘This are operated Amate Audio’s have automatic standby mode new markets. ‘I am flying to Indonesia every and have and explains Mr Chan. ’One such example different styles of music such as pop and EDM.designed The festival has a with Dutch team. Four LED screens were embedded into the VCAisan group hierarchy, which An integrated upmix process ControlSpace processors, power on the same ToneMatch MSA12X control panel basic The event gave the participants an opportunity to network and discuss its with Samsung has capacity of 370 people, by EPA254 information into Samsung Reach (EPG) data directly from Exterity without aAS6W border, that allows them have the opportunity get CTS microphone system offering up a model antenna splitter frequency range of 800Hz This issaid said to create aofhigher of interference, the RS16000 isand right units allsays. include aquad-channel user-rotatable ControlCenter CV41 four to one 10-inch, and Each BlacklineX enclosure is to18 SM5 module rigging which can beSpain and without requiring external gear. and correction functions are allSPL is a apartnership 12-inch subcardioid coaxial and is to offer a signals unique meeting and conference as itof mounts akeypad 6-inch woofer and additional exhibition, plus handsrange of horn patterns. magnets. The N26 comprises N46 provides 125dB continuous This that diversity support. paper woofer and aM/S 1-inch silk transducer and 90° x15-inch 45° As two with the other members one the12-inch main concerns ofleft the groundwork will enable us to work SensitiveTouch technology, that powers down the amp been for the past months,’ he ‘It’s difficult market, the Dolby Preview demo at Astro’s headquarters in Kuala been rolled out so far into Mexico, themeans Netherlands. backdrop: two 6m high xroom 8m wide on the sides allows channels to be assigned enables decoded endpoints and PowerMatch cable. steer/spread beam steering certified. The training involves with the release of its latest with a 75-seat outdoor terrace, amplifiers and a SMQ500 in the same way they contribute TVgateways, enhancing the to blend into the venue’s interior to 400MHz of tuning bandwidth with 9V phantom power, its own to 20MHz, with a recommended threshold frequency to avoid FCC-, REDand IC-compliant. Sold horn allowing for horizontal or converter can support up to four loudspeakers respectively. The made from plywood and finished adjusted for longer throw. as well as and Satcom antennas and The manufacturer describes embedded within the processor loudspeaker is stated shape compact size tothe www.advancedigitaltech.com rooms. The houses 1-inch tweeter in a discreet design. on sessions onthe the products and The core speaker specs include a wide (128dB peak) and operates in the a amplifiers. 1-inch titanium delay is reportedly always ‘Inmultiple the Philippines, we concluded dome tweeter, while 200W horn can be rotated in 45° the Radius family, the RSX12M is attendees. quickly and effectively in itbringing of multichannel recording and slow described as highly responsive, 0.5W after 10 minutes without a from which is quite different Malaysia, but we’re really enjoying Lumpur. involved collaboration with and asThe such April, wastothe turn ofdirectly China to host And from 14speaker to that 15diaphragm and two This 5m xfinal 6m high screens in Dolby the centre. entire to VCA groups and for or stereo signals tothe be mixed The difference between from within the software. CTS prep and the study sessions TVgateway, which integrates a VIP room and gift shop, all of WaveDynamics quad-channel to an ArtioGuest system. information available to hotel design. A 15-inch BASO15 bass-created across six channels and operates active system, an RPS10 possibility of dome breakup, and crossover frequency of separately, and bodypack vertical and a variety ControlCenter CC-1 zone controllers line-up comprises the backdrop with ato textured black coating Meanwhile, the new ControlCenter Robycam stabilised rail and flying’ www.calrec.com maintaining precise diversity delay itself, outboard gear is1.2MHz. no longer provide 9dB of low frequency complement any architectural aneodymium 3-inch transducer and includes The eUC106 spherical pendant solutions presented. The German frequency response from 71Hz tosystem 50Hz 19KHz frequency response. tweeter, while ininto the kept incooling perfect alignment, that Stagecraft International was Mask6C and Mask6CT feature aof increments. The enclosure’s compatible with the EAWMosaic Visitors could also learn about more Meyer Sound solutions motion servers video judging weatherproof and durable. Theenvironment. signal. theand challenges. Itthat takes time, butExterity if orientation you offer consistently good we’ve asubwoofer 7.1.4 Dolby Atmos listening This festival for the first time. More than 51 acts performed on lighting was designed to make the castle setting additional groupings. automatically to multichannel In terms of support for the mixers ishandheld the T8S’ exclusive Support for various Dantefollowed by the exam. with Samsung’s Lynk Reach which have been equipped withunit amplifier. guests through their Samsung reflex cabinet has ben paired within the UHF spectrum ofthe supply and an HUB800 therefore distortion, withinand the The employs aright transmitters are also available mounting options. with aremoves PS602 or PS604 PowerShare X115 15-inch model, the X118 provides durability, while of zone controllers comprises camera systems. www.goshenelectronics.com as critical for minimising listener required.’ attenuation in the rear hemisphere style. aseries high impedance transformer houses a 6.5-inch woofer, 0.5-inch systems integrator reported awith 20kHz, 400W power handling at N36 and N46, the compression Itreportedly 19kg and measures and the need for the right master dealer for Calrec,’ 6.25-inch woofer. 40° vertically trapezoidal system prediction, Broadcast Solutions’ pre-configured high-end market for auditoria from alongside interface allows users to set up Moving on toslomo.tv the speakers, the products support with the behind you, thecontrol market gradually has now led to another project in which we are for creatingsolutions aweighs 40-CDX14-2410 the three stages erected at Shanghaipower International Music stand out. Up to 30 VCA groups can be busses. the ControlSpace EX-1280C output meter. enabled products include www.exterity.com hospitality middleware. The Audac sound solutions by the in-room SmartTV. Exterity a pair of VEXO8 8-inch speakers 470–870MHz. A total of 16,000 network hub, which allows use patented phase-plug design critical listening band of 2–10kHz. use with the system. amplifier. 18-inch version and the X210 white and custom RAL colours are three distinct models and a converter www.jaasys.com tune outs when the HD while still providing theasignal output with 15W and 30W power selections tweeter and 70/100V transformer. ‘huge’ interest from the135dB. local 8Ω and ahardware. peak SPL The driver is combined with rotatable 1,056mm xfrom. 250mm xyou.’ 258mm. outboard Mr Chan continued. ‘Stagecraft shape allows tothat be fitted close monitoring app for iPad. Streamline OBit van family. on and large venues,’ he said. have to the solutions such as multiple parameters, including athe fiveMaskC series similary comprises accepts seat theatre designed to simulate cinema for homesoftware-based user.’ Village near to Disneyland in Pudong, east of the city. Given the expense and effort wentAlso into creating Main chosen When routing conferencing processor –‘We which Shure MXA910 and of MXA310 AirAura X3 is reportedly the first www.samsung.com www.audac.eu Reach platform now ingests manufacturer’s local distributor, TVgateways are fully compatible inmicrophones, themany VIP room. Meanwhile, the recently, frequencies are available, which of manufacturer’s where the suppression of cavity www.bose.com slimline double 10-inch cabinet. also available toto order. seven for simplifying wiring. ControlCenter www.broadcast-solutions.de www.iseurope.org www.stagecraftintl.com blends to analogue at the fringes of festival, capability of aDSP normal 2-way at 100V line level. broadcast community. product incorporates Fulcrum’s asymmetrical horn. The N26, N36 ‘In stations, theWireless FM has crafted its place inThe thegroups, audio to ceilings. display the complete portfolio earned the trust of our collaborators broadcast Ultrasoft and Serenity, band EQwas with fixed Q, factory presets, four models. Most Media Prima Berhad (MPB) used a Calrec As befits anew major international music Daydream has Dream, it was essential that the rest of the production lived 5.1 sources stereo includes blocks – the www.stagetec.com Audio-Technica www.martin-audio.com www.wheatstone.com www.apart-audio.com www.fulcrum-acoustic.com CCX1295 subwoofer Ecler’s IW103 in-wall Real Music’s technical engineers Peng Qingbo and Zhao processor for off-air monitoring Meyer Sound’s Antonio Zacarias; Don McConnell and Jeff Shoesmith www.sonoslibra.com Sonos Libra. outdoor terrace is equipped with six www.celestion.com www.dbtechnologies.com can be selected inHarrison manual mode Manager software via a frontoccurs much higher install speaker CC-1 solely provides volume control, Hanjun,atflanking sound engineer Thomas Hillen www.jaasys.com In other news, the Spanish and N46 house two, three and with our proven record of technical independent limiters for low-systems and Calrec’s Anthony and JAA.S’ David Chan at IBC 2016 Summa console to handle 5.1 mix during its used live of Audio Brands Australia; with McMahon fromthe Meyer Sound very high production requirements. The Main Dream stage up to John this fabulous backdrop. Thesurround audio to resonances be pro.bose.com N26 www.eaw.com www.ecler.com www.amateaudio.com N36

Monitoring the Radius

Hedd debuts the Type 30 High-frequency dBTechnologies goes on tour Blackline gains compression X-factor Amate provides a scalable solution Broadcast Innovation Days see success in Asia Ecler finishes things off Daydream, a regular fixture on the European festival calendar, has debuted in China.diversity Sue Su reports from Wheatstone corrects delay Fulcrum starts a family Audac rocks hard in Phnom Penh the inauguralexpands event in Shanghai Exterity partnership

Daydream believer

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78 AVL ASIA May–June 2019 62 PRO March–April 2019 34 July–August 2019 92 2018 50 PRO AVL AUDIO ASIA November–December 2016 46 January–February 2017 66 March–April 2017 68 May–June 2017 60 PRO 58 AVL ASIA ASIA November–December January–February 2018 2017 March–April 2018 64 AVL ASIA May–June 2018

July–August 2017 PRO AUDIO ASIA 113

NEWS NEWS:: BUSINESS PROJECTS

NEWS: PROJECTS

Video comes toatDante K-array equips Spanish Making Waves The Star TheatM Blackmagic Design sweeps restaurant in Beijing Good Design Australia Awards R N

CHINA: Having honed his hospitality skills in one of Ibiza’s legendary nightclubs, Eduardo Gutierrez knows a thing or two about good sound. So when it came to equipping Migas Mercado, his new Spanish restaurant and music venue in Beijing, he turned to K-array. Migas Mercado recently moved to China World Mall in central Beijing from its previous location. The iconic CCTV building and a skyline of glistening edifices provides the backdrop to a night out at Migas Mercado, which stages al fresco DJ sets on the spacious outdoor terrace from April to October. Indoors, it was important to provide decent SPLs in the bar/ restaurant while ensuring that conversation could still flow, and speaker cabinets didn’t overwhelm the décor. Additionally, a raised VIP dining room which doubles as a stage for regular live music nights needed to be suitably equipped. K-array’s Beijing office provided the venue with four Kobra-KK102

WORLD: With Dante audio SINGAPORE: The Star Theatre, networking technology having been the flagship, 5,000-seat venue at widely adopted by the Arts pro audio The Star Per forming Centre, industry, developer Audinate is has adopted several solutions now launching for audio the from Waves asDante part AV of its AUSTRALIA: Australian distribution of audio and video control setup. Star’s head of over manufacturer Blackmagic standard IPhas networks. The awards new audio, Reuben Ong, chose to Design won seven module described asproducts offering add SoundGrid Servers,‘all forWaves theis design of its the ofcountry. Dante audio MultiRack and the SD7 Proover Show inbenefits’ its home 2018 IP, such to as discovery, ease-of-use bundle the theatre’s production Good Design Australia Awards and integrated control, to video. workflow. were presented for the Ursa The developer has also confirmed ‘Waves processing isAtem a part of Broadcast camera, that Dante AVdefault is compatible ourTelevision current console setup Studio Pro HD with video the more than 1,600 Dante-enabled in production The Star Theatre,’ began switcher, Atem Mr 1 M/E audio products already on the Ong. ‘Our default theatre console Advanced Panel, DaVinci Resolve market. system consists of three DiGiCo 14 editing and colour correction ‘Customers wantone usResolve to bring the SD7 Quantums, each forMini software, DaVinci “V” to “AV”,’ said Audinate CEO, monitors, FOH and broadcast/ Panel and Video Assist on-set Lee Ellison.and ‘With Dante AV,SD7s, we recording. At each of the monitor recorder. are excited make that a the reality. there is goal anto engine-based ‘Our is to enable The Dantenumber AV Module and theto be redundant system Waves largest offor people Product Design controls and processing. On will moreAVcreative and helpSuite them A K-array Kobra-KK52 column speakerDante shares the skyline with the iconic CCTV building enable manufacturers to quickly each console, both engines areget

KU210s have been teamed up with four Domino-KF212 double 12-inch full-range speakers and four Thunder-KMT18P 18-inch subs driven by KA24 and KA84 amps. integrated audio and video products The system has been zoned to market, with all of the benefits into four areas for restaurant Dante has to offer. We’re taking K-array Domino-KF212s cover everything we’ve learned from years background music, indoor DJs, seating areas on the terrace terrace DJs and live music from intell networked audiowith to the video their stories video,’ the stage, respectively. Control world and delivering on ourCEO vision commented Grant Petty, at of over the individual zones was aBlackmagic truly integrated, easy-to-use Design. ‘Whetherand accomplished via the use of interoperable AV experience.’ K-array’s KA24 and KA84 DSP Dante AV uses a single network amplifiers used to power the clock for ‘sub-microsecond system. ‘Thanks to the digital accuracy’ in synchronising audio processor inside all our amps, we and video. Audio and video signals can easily carry out signal routing can be routed individually via an as well as adjusting the level and interface on the Dante Controller K-array Thunder-KMT18P subs in the EQ,’ else said out Jason Zhou, technical software. Dante API can be used to anything there. Good it’s for a high end broadcast the outdoor DJ area director at K-array China. customise the interface. products don’t need to be‘Outside, professional, HollywoodAudinate feature the KF212s can provide full-range claims that Dante AVsubs. eliminates KU26 double 6-inch Six complex or expensive. They need filmmakers or a young web sound in nearfield. It’s Razali a well, traditional time alignment issues and the need Tornado-KT2 2-inch point source Muhammad Khairul Bin Shariff with Muhammad Iszuan Bin to perform exceptionally broadcaster, we think very and Reuben Onghow design buttousing neodymium for audio de-embedders. speakers provide extrapeople coverage they need be affordable and carefully about magnetic so while the The Dante AV Module supports where needed. Theour indoor system is they need drivers, to be easy to use.’ are going to use products cabinet ismanufacturers thin, it’sthrough very developing powerful.’ one and eight powered Kommander-KA14, connected to twothem Waves (AppleatMac Minis a gigabit andvideo thenbychannel design to Extreme be -KA4 aimed uncompressed bidirectional Dante and -KA84 amplifiers. Outdoors, 1G video-over-IP with Servers and two host computers network switch).products Configuration www.blackmagicdesign.com faster and easier to use than www.k-array.com audio andapplication is and primarily aforfurther eight KK52s four Dante control, transport and thechannels MultiRack is such that each SD7 engine is

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1m column arrays with 16 2-inch neodymium transducers, four K-array Kobra-KK52 50cm column arrays with eight 2-inch transducers, two Rumble-KU212 double 12-inch subs, two Rumble-KU210 double 10-inch subs and two Rumble-

Digital audio and flying lanterns TAIWAN: As the Lantern Festival overlapped with the new Chinese Lunar Year, Taipei held a special nine-day Year of the Pig Lantern Festival in Ximending. Each

The setup was deployed by Acoustic Audio Engineering Laborator y, whose team included Yuanzhou Guo, Kunqing Lai, Wave Yang,

A b

1/2 PAGE Island evening, lanterns were lit for the public to enjoy. A Dante network was employed for digital audio coding and transmission across the event site, making use of a Yamaha QL5 digital mixer, a RIO 1608-D I/O rack and UNiKA break-in/break-out boxes to stream multichannel audio across the network. The longest run of Ethernet cables was 80m.

con Ser con mon Min Cur Wav bun Th Wav wer One Ong requ and eve see bein The are sync that TH code requ of have use re The PA Suite la Mod Na with ha desi sim is an in Des sy hard su need se AVsy p proc‘ mark m AhiJ 4K/ lo thewiD said m resu pr M us wi an Al us m WOR INDO infra (AreL man spe al acqu Sarb Co spec It Di w ‘[A stre en solu Mus al exte and st port maj un offe Kris an to-en Jola 2incre APD C infra mixi lo Den the CEO sou cont live bee in th The with prov dist loca Swa in w broa Pak Mar the and

Zhiqiang Gao, Jiawei Chen and Qiang Lian. The show control system, combining audio, visual and lighting automation, was synchronised by an SMPTE generator and managed using a Mac. The lighting setup, meanwhile, was controlled by an MA Lighting grandMA2. www.unikapro.com

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10 2019 34 PRO PRO AVL AVL ASIA ASIA March–April May–June 2019 July–August 2018

2018-05-09 12:17:57 PM

July–August 2019 PRO AVL ASIA 35

NEWS: PROJECTS

Harry Potter and the Subminiature microphones AUSTRALIA: Following its huge success on London’s West End and in New York on Broadway, Harry Potter and the Cursed Child is now playing at the Princess Theatre in Melbourne. Sound designer Gareth Fry has employed DPA Microphones’ 6000 Series Subminiature Microphones for the play, which was penned by JK Rowling herself. ‘DPA’s d:screet 4061 Miniature Microphones have long been theatre stalwarts because they sound great, are very tough and are small enough to hide on cast members,’ explained Fry. ‘I’ve been using the legacy version of these microphones for years, and we typically hide them in the hairline, on the forehead, so they are not visible to the audience.’ The play made its debut in London in 2016. In 2017, the Broadway production opened with DPA’s new-at-the-time d:screet Core 4061 Miniature Microphones. ‘For the Broadway production, I was keen to take advantage of technological developments to get the best-possible sound out of the

microphones.’ Fry explained. ‘Then, when we opened in Melbourne, I was keen to make them as invisible as possible.’ Just five months before the Melbourne production began, DPA released the 6000 Series Subminiature Microphones. Although preparations for Harry Potter and the Cursed Child in

opportunity to refine aspects of the show, and each new ensemble of actors brings something new. Often in theatre, we’re trying to balance the need for vocal reinforcement, without it being immediately obvious that we are doing vocal reinforcement. Not always – it does really depend on the style of the show.’

www.dpamicrophones.com www.garethfry.co.uk

Martin Audio THV equipped at H Club

Void’s Win Win solution

CHINA: Win Win Agency recently hosted a party at W Shanghai’s WooBar, with a set from French DJ Sébastien Léger. The company’s CEO, Akos Ulrich, approached Patrick Lau of Budee and Seth Lee of Guangdong Yicheng Science and Technology Co to supply a Void Acoustics system for the event. Lau and Lee were flown in to Shanghai to meet with Ulrich and Win Win Agency founder, Kristof Geczi, and W Shanghai’s music curator, Gio Vanhoutte. During this meeting, Lau and Lee had the opportunity to survey the venue, determining a sound design that incorporated Void’s Air Motion V2 and Stasys Xair as the main system, along with Tri Motion and Stasys X V2 cabinets. ‘We deployed the Airten V2 on top of the Stasys 118 sub for DJ monitoring,’

Melbourne were well underway, Fry made the decision to move to the new d:screet 6061, which measures 3mm across. ‘It’s often better to make the show work with the venue, than to try to force it to fit,’ Fry noted. ‘The changes are rarely major because what we have works really well. But we’ll never turn down the

During the play’s preview period, when the sound team tried out various miking positions, Fry received notes from the directors and producers. ‘Since switching to d:screet 6061 mics I’ve had significantly fewer notes,’ he said. ‘Plus they sound as great as the original 4061s – and they are incredibly water-resistant. In the past, if you have a scene where the actors come in to contact with water, you have to go to extreme measures to protect the microphones, or use something like a heavy-duty d:screet 4661, but the IP rating on these makes them seem impervious to water. They are so tiny that they just disappear. With a 4061, if it isn’t well hidden you can definitely see a microphone, especially if you are double miking, but with these you just mistake them for a small mole. They are effectively invisible. The actors prefer wearing them too, because they are less obtrusive.’

Sébastien Léger explained Lau. ‘These were powered by Q5 and V9 amplifiers. ‘The show attracted a full house, with people turned away once the venue reached capacity. Over 1,200 guests enjoyed the Void Acoustics sound system. Akos and Gio also enjoyed the system and said that this is the sound they were looking for.’ www.budee.com www.gdeasen.com www.starwoodhotelswshanghai.com www.winwinagency.com

36 PRO AVL ASIA July–August 2019

VIETNAM: Martin Audio THV threeway biamp loudspeakers have been installed at the 4,000m2, 1,200-capacity H Club, the Starcity Halong Bay Hotel’s new nightlife hotspot. Duc Proaudio, the British manufacturer’s Vietnamese distributor, supplied the system. H Club is the latest venture of Bui Minh Hong, whose portfolio includes venues such as Ha Long Club, New Ha Long Club, Ha Long View KTV and Phantom Karaoke. He chose Duc Proaudio to handle the sound design and installation at H Club and it was Duc Proaudio director Pham Duy Duc who recommended the Martin Audio solution. ‘If you are a serious player then you will have heard the superior sound of Martin Audio systems, as it is a brand name trusted by leading bars and clubs in Vietnam and around the world,’ said Duc. ‘Venues using Martin Audio sound systems supplied by Duc Proaudio include Gold 2 Club, Canalis Club, Barroco Club, Deluxe 030 Club, Kashso Club, XingXing Club and Gaia Lounge in Hanoi. But the sound system required at H Club takes this to a completely different level. [The THV] loudspeakers were developed last

year to replace the existing H3+ series in Vietnam.’ The THV system was designed specifically for use in nightclubs. The horn-loaded system includes a Hybrid 15-inch LF with reflexloaded 4-inch voice coil and ‘Phase Ball’ loaded midrange. Sixteen THV enclosures were installed in total, along with 16 SXH218

subwoofers and 16 CDD15B delay speakers. Martin Audio MA2.0 and MA5.2K amplifiers and an iK42 running Dante from a DiGiCo SD11 mixer provide power and system processing. The DJ monitor system, meanwhile, features four CDD-LIVE 12 and four SXP118 subs. ‘The sound feels lighter and those who come to H Club will definitely form a strong impression – especially with the SXH218 subwoofer, which is set up based on the latest Martin Audio Subwoofer Array Arc Delay Calculator software,’ Duc explained. ‘This creates bass uniformity throughout every position in the club, which really comes alive.’ www.ducproaudio.com www.martin-audio.com

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NEWS: PROJECTS

Brompton processes Eminem’s Rapture

ANZ: Eminem’s Rapture tour broke several attendance records throughout Australia and New Zealand with five stadium shows, including 80,708 tickets sold for the gig at Melbourne Cricket Ground. A total of 1,494 LED panels were employed as part of the set, displaying cinematic visuals and scenography. These panels were

driven by Brompton Technology Tessera SX40 4K LED processors and XD 10G data distribution units, supplied by NEP Worldwide subsidiary Big Picture. ‘We were able to have a central processing position with multiple XD locations around the stage, minimising cable runs,’ explained Jeremy Moore, head of displays at

Big Picture and crew chief for the tour. Rapture’s video rig comprised a large upstage wall formed from 620 ROE Carbon panels, four tower screens of 144 panels and two IMAG screens, each with 360 panels of ROE Visual MC7 for a total of more than 13 million LED pixels. The SX40 LED processor offers a full 4K 4096x2160 resolution with zero-latency scaling, ChromaTune colour correction and network-based control. The XD data distribution unit receives a 10G input from the SX40 and distributes to the fixtures via 10 1G Tessera Protocol outputs. ‘We needed something user-friendly and reliable,’ said Moore. ‘Using the SX40s allowed us to provide seamless processing and data distribution, with zero issues all tour.’

AUSTRALIA: Elite Audio Visual Productions (EAVP) has installed a Nexo Geo S12 line array system in the 900-seat Joy Shepherd Per forming Ar ts theatre at St Hilda’s Anglican School for Girls in Per th. The venue ser ves

After running acoustic simulations of the space, the EAVP team determined that in addition to two main PA hangs, front-fill speakers were required at the front of the orchestra pit and delay speakers were needed above the dress

www.bigpicture.com

as the school’s main auditorium for activities and productions, while also catering to external events when hired. The old sound system had star ted to develop problems and didn’t provide the even coverage and power needed for the theatre, which had a negative impact on external hires. Therefore, EAVP was commissioned to design and install the new solution. Theatre manager David Spooner put together a project brief for EAVP that specified the need for a system that could be flown from the roof to save space on the ground; could facilitate all manner of events, from school assemblies to rock concer ts; could ensure even coverage throughout the auditorium, on the ground and the balcony; and was from a reputable brand with easy access to par ts and technical suppor t.

circle to deliver the desired coverage. The solution installed ultimately included six Geo S12 top boxes and two 18-inch LS18 subwoofers per side, along with three ID24 speakers for front-fill and four more as delays above the balcony. The entire system is driven by two NEXO NXAMP4x4 four-channel amplifiers, housed in new racks behind the proscenium. ‘The new sound system now gives us the flexibility that we need in the venue,’ said Spooner. ‘There is more than enough headroom in the equipment and I never have to push the system. I’ve yet to have a customer complain that the system was too loud or not loud enough, or that they were unable to hear a presenter. Something that would happen regularly with the system that we replaced.’

www.bromptontech.com

Starsing Music celebrates with Mipro CHINA: Established in 1997, Chinese record company Starsing Music recently celebrated its 22nd anniversary with a banquet in Beijing. A Mipro MA-808 portable wireless PA system was employed to reinforce the speeches given and music performed during the event, while an ACT-7 narrowband series wireless microphone system with ACT-72H handheld transmitter was used for capturing the spoken word and vocals. The ACT-7 wireless

system picked up and transmitted audio from guitars and traditional Chinese string instruments during

EAVP and Nexo join school theatre

performances at the banquet. The MA-808 wireless PA system received the signals, reproducing the sounds of these instruments for all to hear throughout the hall. ‘The Mipro MA-808 worked perfectly in this environment,’ commented a Starsing Music spokesperson. ‘Its portable design reduced the time needed to configure the system and it covered the whole place evenly with high intelligibility.’ www.mipro.cn

1/4 PAGE 38 PRO AVL ASIA July–August 2019

www.eavp.com.au www.nexo-sa.com

PROJECTS NEWS: BUSINESS

CATV Tokushima upgrades to 4K with Blackmagic Waves enables AsiaWorks employs flowtech100 its partners

JAPAN: CATV Tokushima has ASIA: AsiaWorks, an independent replaced its 2K live broadcast mediawith company with offices built system a 4K infrastructure in Bangkok, Beijing, Jakarta THAILAND: Waves Audio recently around Blackmagic Design products, and Singapore, invested in staged itsthe Partner Enablement including URSAhas Broadcast Sachtler’s carbonCamp atATEM the flowtech100 Holiday Inn Studio Sukhumvit camera, Television Pro fibre tripod for use in its ENG and in The three-day 4K,Bangkok. ATEM Camera Control Panel (electronic news gathering) and workshop was attended by Waves HyperDeck Studio 12G. liveorder news ‘In to production. replace the live dealers from Thailand, Indonesia, TheKorea, company’s camera broadcast system from 2K Malaysia, to 4K, South Singapore, operators started we introduced many Blackmagic India and therecently Middle East. It was using theconfirmed tripods products,’ Takushi held in response to on-location the ongoingat earthquake sites in Lombok, Ichisaka, programme production increase and expansion of Waves’ at and the Asian Games in Jakarta manager at CATV Tokushima. ‘We live install businesses in the

have used Blackmagic products region. before, and know they are reliable and the cost performance is really great as implementing a similar system with another company’s product could cost in excess of three times more. Also, Blackmagic has many 4K 12G products available, so we were able to build a unified 4K live broadcast solution.’

BNC Barnfind increases opens live Beijing content office with Ross

The Waves team leading the workshop comprised EVP of sales and marketing Mick Olesh, live marketing manager Noam Raz, product specialist Michael Adams, and regional sales manager Ravisankar Nadiyam. The training and demonstrations explored the Waves MultiRack/SoundGrid, the eMotion LV1 Live mixer, and using Waves plug-ins for studio and live sound.

'I believe that our task, and that of our partners, is to ensure that we are informing and educating the user base with what Waves

CHINA: Norwegian fibre transport solutions MALAYSIA: Bernama News Channel manufacturer Barnfind (BNC) has built ahas newpartnered studio at Technologies itswith Kuala itsLumpur Chineseheadquarters distributor, to increase amount of live content Digi-Redthe Electronic Equipment, itThe is able toaproduce. In doing so, broadcaster recently covered to open new office in China it as turned toofRoss Videotoand its up the Awa setting partdance its festival, plans expand Malaysian sales partner for four URSA Broadcasts atUxera theThe main in the Asia Pacific region. advice. dance venue. Each of the cameras office, located in Beijing, will ‘Ross’ expertise live production was equipped withinasupport, Blackmagic provide customer was an important consideration Camera Fiber connected service and Converter, sales for Barnfind’s when a technology partner,’ via anchoosing SMPTEcable, fibre optic cable broadcast, satellite, OTT explained Hakimi Zuffrida bin to a Studio Fiber Converter atMohd and telecom customers across Zain, chiefsite. operating officer at BNC. the relay APAC.

The feedseeing from the URSA Broadcasts ‘After continuous was to the ATEM Television andsent successful sales growth Studio Pro 4K which in China andswitcher, the overall Asiathen sent signals to anBarnfind ATEM Camera Pacific market, is Control Panel, SmartView and very excited to open the4K doors SmartScope Duooffice, 4K. The ATEM of our newest expand Television Studio 4K was used our service andPro support and forbring switching, inputtingtechnology titles and our advanced Having with the logos andconsulted totomanage talkback solutions customers in Ross this and Uxera BNC purchased directly withteams, the cameraman, market,’ said Barnfind CEOwhile Ross Video’s Ultrix‘In routing/ a HyperDeck Studio 12G provided Wiggo Evensen. addition, AV platform, Graphite all-in-one backup recording. the new office will serve as switcher, graphics and audio system ‘ATEM Television Studio Pro a Barnfind warehouse and4K forservice a dedicated mobile production supports eight 12G-SDI inputs hub for any other flypack, andconversion, several licences of with format so you can Asian countries in need of our XPression 3D real-time format any Prime signal and it’s really easy services.’ graphics software. because don’t needasto convert,’ Elaineyou Sun serves ‘Our engineers and technical said Ichisaka. ‘The switcher area Barnfind’s sales manager in teams have able to operate China. ‘Forbeen years, Barnfind the Ross equipment withitself little has been establishing difficulty and the market,’ Ross technical in the Chinese she support team has always been commented. ‘With this new on-hand to guide said BNC office, we have us,’ taken a very engineer, Wan Anuar Bin Wan important step forward to Jusoh. ‘The mobileour production increase presenceflypack in thishas already proved its worth, enabling important region and address uscustomer to cover news liveefficiently events needsand more more and efficiently.’ effectively.’

information and the precise tools to match their requirements. I am happy to say that I think we achieved that goal.' has veryalso clean compared to Mr become Olesh was happy with the of operations at AsiaWorks. before, as noevent additional event. 'This was equipment a pivotal ‘With its rugged construction like cables ortoconverters is needed. opportunity further strengthen and ability to suppor t heavy The ATEM Televisionand Studio Pro Waves’ continuing significant payloads, thetowards tripod is ideal for 4K has a very easy to strengthening understand enthusiasm heavy-duty At interface, anyone can with operate our valuedsonewsgathering. relationship the it the same time, flowtech100 is intuitively,partners, and the combination region’s decisively of extremely lightweight, rugged ATEM Television Studio Pro 4K and making sure they receive the and easy carr y, and – and quite ATEM software control makes itvital easy utmost in to support, tools honestly –experience it’s one easiest to manage titles andof logos. The 2K hands-on tothe understand and fastest-deploying tripods material titles and logosaspects are alsoI’ve the array of beneficial of ever used.’ converted to 4K automatically, which Waves’ arsenal of software and

and the IMF/World Bank annual meetings in Bali with a variety of cameras, including DSLRs, Sony FS7s and ARRI Amiras. The flowtech100 tripods support a payload of up to 30kg and are optimised for AsiaWorks’ heavyduty ENG workflows. ‘Since our mobile crews often find themselves in remote and challenging solutions canlocations, contributehaving to the right gear essential,’ them,' said Mr is Nadiyam. 'When I said Andrew Fisher,my head planned this event, aim was to

www.flowtech-tripod.com

provide our partners with accurate

www.blackmagicdesign.com www.waves.com

is very useful.’ hardware.'

3/4 PAGE

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March–April 41 July–August May–June2019 2019PRO PROAVL AVLASIA ASIA 39 9

NEWS: PROJECTS

ETV Bharat launches with Ross and Aveco INDIA: The ETV Bharat app, featuring 12 news channels, has launched with Carbonite Black Solo production switchers from Ross Video in each of its 24 studios, as well as trios of MC1 master control units to facilitate three simultaneous live feeds per channel. In total, there are 72 MC1 units, used with the XPression LiveCG graphics solution to render still graphics and send them over a network to the MC1 Storage without taking

up the MC1’s key and fill video inputs. In addition, Ross Video’s UltrixFR5 144x144 routing and AV processing platform is in use at ETV Bharat’s six-storey headquarters. Two Ultrix-FR5 units are used for routing and signal distribution across the site, with the system’s built-in 100 PIP multiviewers used for centralised monitoring of every signal. The entire facility is also connected using Ross Video’s OpenGear platform.

Ramoji Rao, chairman of ETV Group, and Kulvinder Singh from Aveco

Ross Video has served as a technology partner for the ETV Group for more than two decades. ‘When we were about to finalise equipment for our 24-channel OTT project, Ross Video was our first choice because of its innovative, industry-proven and value for money product lineup and aftersales support,’ commented a member of the ETV technical team. ETV Bharat also relies on Aveco’s ASTRA automation solution or all 24 of the app’s channels. The ETV Bharat app uses Aveco’s ingest, production control room (PCR) and master control room (MCR) platforms in conjunction with an Octopus newsroom computer system at the broadcaster’s facility in Ramoji Film City, creating a fully automated newsroom. ‘This project had a very unique requirement on the workflow side, with the need for a dynamic system that would be flexible enough to scale, based on future requirements,’ said Kulvinder Singh, VP of sales, SAARC at Aveco. ‘During the proof-of-concept

phase, Aveco demonstrated all of the features that were expected by ETV Bharat, including third-party device integration, where Aveco automation handles the same ports

for multiple operations for both the PCR and MCR.’ www.aveco.com www.rossvideo.com

Christie chases waterfalls CHINA: Wincomn Technology has designed and installed a Christie projector setup at the Tang Paradise theme park in Xi’an that maps onto the Silver Bridge Water fall, a 35m wide x 16m high attraction that projects the ‘glory of the ancient Tang Dynasty’. The installation comprises four Christie D20WU-HS 1DLP laser projectors. ‘We need a high-brightness projection system that can overcome the outdoor conditions to deliver colour ful and lifelike visuals that accentuate the stor ytelling and fulfil the show’s overall themes,’ said Tony Chen, general manager at Wincomn Technology. ‘The projectors require a reliable and robust light source that can withstand the rigours of daily outdoor use. After much consideration, we decided that the laserilluminated Christie D20WU-HS is most suitable for this project.’ Chen explained that during the site sur vey, the Wincomn team obser ved the environmental conditions, such as the uneven terrain and dark tone of the rocker y, as well as the rapid flow of water cascading downhill, which could all impact the quality of the projections. ‘We managed to overcome the environmental conditions

The projectors are housed in two towers overlooking the waterfall

with the Christie D20WU-HS, which would other wise be a daunting task for our team. Its high brightness of 20,600 ISO lumens produces brilliant visuals, while Christie’s BoldColor Technology offers enhanced colour per formance and saturation over standard laser projection. This ensures colour accuracy and effectively resolves the dark colour tone of the rocky terrain.’ The projectors also feature Christie Twist built in, which made it quick and easy to set up and calibrate for the unconventional sur faces. The projector’s small footprint, light

weight and omnidirectional capabilities also helped with the installation process. All four units are housed in two projection towers overlooking the water fall. ‘My congratulations to Wincomn Technology on another topnotch installation,’ said Ernest Bakenie, director of sales for Asia Pacific at Christie. ‘It’s hear tening that Christie’s projectors continue to be the trusted choice of cultural and location-based enter tainment venues across China.’ www.christiedigital.com www.wincomn.com

Projections of peonies (left) and flourishing blossoms (right) on the waterfall were displayed across the rock garden

40 PRO AVL ASIA July–August 2019

FEATURES: INSTALLATION PRODUCTS NEWS: PROJECTS

SSL flexes its Native muscles Pro-ribbon battles

system of a row of 24 Kiva II ultra compact sent to the FOH console to be mixed from modular line source cabinets installed along there. The venue differs from most Chinese a walkway in the roof of the venue. Onstage theatres by having an open FOH position on monitoring is provided by six X15 HiQs, the third floor of the auditorium, with a lift and all speakers are driven andv6.1 managed management next to it system for transporting equipment to the SOLID STATE Logic’s Native for all plug-ins by L-Acoustics LA8 has and LA-12X amplified basement. ‘This way is common software release launched with across the range. The update also in foreign controllers. countries but, inMCU China, many theatres the inclusion of FlexVerb, a reverb provides dedicated plug-in The sound system at Group the Wuliangye install the consoles in a control room,’ says plug-in that features a six-band EQ,held itscontrol mapping for Apple’s Logic Pro CHINA: China Media recently Chengdu Arts is aAn‘semiRightway’s Tao. ‘Sometimes this is not good high andPerforming lowFestival pass filters, three-band and Steinberg’s Cubase, and adds Mid-Autumn PartyCentre in Qufu. Alcons fixed’ that be reconfigured tomorefor audio they cannot hear the reverb time multipliers and an input than 80 engineers producer as presets. Audioinstallation pro-ribbon LR28can larger-format line array fitsystem the ever-changing performances arriving at sound clearly in the room. And for those who was supplied by the manufacturer’s the venue.distributor, A large mobile system, bring in their own equipment, it is difficult for Chinese EAD, L-Acoustics to deliver sound including 24 K2sfrom andthe 48 60m-wide Karas, can also be them to integrate their equipment into the reinforcement stage, deployed as needed, and rented to visiting control room, because it’s all fixed. This open across the 5,000-seat audience area that artists. design can help engineers quickly bring their was 80m x 100m (WxD). ‘Except for the position of the console equipment up here and, at the same time, and the Kiva II delay system, we have so take the venue’s equipment down to the far moved everything around for different basement, allowing the setup to be changed performances,’ explains Wang. ‘In [wellquickly.’ Owing to the trust that Wang has built up known Chinese artist] Zhang Jie’s 2018 in Sennheiser's RF interference capabilities, concert, Chengdu Station, we added a third he chose a 96-channel Sennheiser 2000 more speakers based on the original system

the breeze

FlexVerb sidechain compressor. FlexVerb’s v6.1 update is EASE free for existing using Focus software and The event’s audio director was Liu Yibin, The designed algorithm has been coded to Central offer Duende and SSL users. ALControl theNative CCTV audio teamNative used Alcons’ lead sound engineer for China ‘the depth,(CCTV), character detail of a FlexVerb can be withnetwork a Duende software to used build the system control Television who and worked alongside professional reverb’. Mr Xu to overcome NativeforX-Verb iLok licence. SSL Native the arrays. chief sound engineer FlexVerb features a will automatically ‘Thanksholders to the directivity, all-natural several challenges. Assplit well early–late as the size of subscription reflection face thattoenables a FlexVerb iLok licence for the throw cylindrical wavefront and exceptional the venue,inter its proximity Mount Ni and receive users to addReservoir the natural body of their subscription. of Alcons Audio’s pro-ribbon technology, the Nishan meant that strong duration and toneand of various early room could causeIn other SSLbreeze news, and the high Audiotonix a strong humidity did not breezes a changing humidity reflections, coupled with a range brandaffect has launched a 32+1offader the transmission sound at all,’ problems with the sound. of The expansive reverbcomprised tail options. of its System S300. Thedrivers of confirmed Xu. ‘TheT pro-ribbon main system left and right version The plug-in also designed be S300-32 can be used really as a pushed portablethe high the LR28 system hangs of 14isLR28/80 and twotoLR28/110 intuitive and to facilitate thewell efficient moved around a facility frequencies, ensuring very low distortion and wide dispersion modules, as as three sur face, creation of ‘professional, wheremaintaining needed oraserve as a sound backup very clear for the whole LR18 compact mid-size linemix-ready array modules for sound’. sur face to a larger S500. audience.’ down-fill per side. Six ground-stacked groups L-Acoustics K1Native hangs have brings beenacross flown on either Yibin side of the stage Additionally, v6.1 an the concurred: ‘The Alcons Audio system of three LR18s were positioned array improvements the preset ensured that the sound was very clear front of the stage for fills,towhile 14 BC543 www.solidstatelogic.com Series wireless system, within and accurate formicrophone all of the 5,000 people cardioid subwoofers were placed in left and all mics equipped withlevel DPAwas thehandheld arena. The sound pressure right stacks of seven. Due to the width of d:facto capsules. ‘Sennheiser's wireless maintained perfectly to the far back and the stage, two additional BC543s were used transmission and reception is very stable, sides of the audience, keeping a very evenand to enhance the bass in the central stage the 2000 Series is frequently used by rental soundfield throughout.’ area. The entire system was powered and controlled by 28 Alcons Sentinel10 amplified companies, so it’s very useful when it comes to meeting artists’ requirements,’ he says. www.alconsaudio.com loudspeaker controllers. The setup was During the six-month construction period, the LED technical team greatincare to ensure THE SPX LED WW (warm WW is alsotook quieter the operation finish of the venue was clean and white) profile from than ‘comparable streamlined, and this involved concealing Philips Strand is LED fixtures’, according large runs. A lotwith of effort intended to serve tocable Philips Strand, a was put into hiding cables in wiring in the ceiling as anSound energy-mixer Joel Wanasek and reduced fanducts noise. JAPAN: and underground, longest signal efficient LED Usingwith the the same engineer/mix assistant Joe Wohlitz worked transmission distance more alternative to gate and lens setsthan 180m. together on Japanese guitarist Miyavi’s Rightway provided technical support for existing spotlights. as full Philips chart-topping album Samurai Sessions Vol.2, the project, supplying staff SPX to assist with The manufacturer Selecon’s including hit single Dancing With My Fingers. system design using L-Acoustics Soundvision hashave primarily aimed that an Audient iD22 They now revealed prediction software as well as equipment design, becauseplayed the show wasrole soldinout and it atinterface environments audio a major their installation and alignment, and additionally in his music so dynamic.’ such asiseducation and setup throughout the process. the training process. Wang also explained the rationale behind worship. ‘Ithouses was myoffirst number one song as a mixer/ Joel Wanasek Dozens of different types of performances using Kiva II LED as aWW delay ‘Ourhonour,’ original The SPX mastering engineer so is it system. was a great alreadyDrumforge, been staged in theup centre. idea was to use K1 tospent hitDMX the last row dimmable from either or via a mixing have established making two-thirds of said Wanasek. ‘I have many years Wang reveals that an estimated 70% of of seats, so that the whole field can be conventional forward phasefrom dimmer. the company with another partner. Drumforge metal and removing dynamics guitars. performance groups are and choosing to bring covered by direct sound. But, as the sound ‘step-less’ fade is of provided creates sample libraries drum not mixing plugOnSmooth, this record, a good amount them were their ownhas systems butwon to rely on the venue’s, pressure went up,Miyavi we found that too down left tolevel zero, making it suited to ins, and already several awards. actually in, because slaps a lot.’ allowing them to save onanybody high equipment much reflection cameand back at thehave stage, so performance pieces. The fixture uses ‘Our philosophy is that who is The duo of Wanasek Wohlitz since rental and costs. wethe decided to cover the venue in two parts.Profile fixtures, the LEDan WW is manufacturer’s latest energystarting offtransportation onlySPX needs interface with two This‘secure’ is just one ofand Wuliangye that said The currentwarm Kiva IIwhite delayLED system has been built with locking shutters efficient light engine great channels ofaspect preamp conversion,’ sets it apart from the majority of large fine-tuned so that, when you listen to it, it and allows other be and beyond that to reportedly produce an output Wohlitz. ‘Thelens iD22sets goestoabove performance venues, that will is equivalent comfortable a point source usedChinese via an adaptor It also and toto a hear, 575Wlike bulb. Its beam and is the logicalplate. first purchase anybody should help culture-focused cityuntil of Chengdu system.’ employs athe Philips ‘box-style’ has been designed to only light up be making forSelecon an interface their needs realise its goal becoming a music capital. The equipped with two DiGiCo gel colour holder andoffacilitates thevenue areasisthat it has been aimed at. require something else in a DMX much higher price SD5 forframe FOH and monitor mixing, XLR connectors. Theconsoles SPX filter system is said to connection bracket.’ www.amazingart.cn connected to light two 56-in/48-out SD Rack ensure no leakage, negating the www.l-acoustics.com stageboxes via an Optocore system. For www.strandlighting.com need for additional masking. The SPX www.audient.com www.racpro.net smaller shows, monitor signals can also be www.drumforge.com Joe Wohlitz

Warm white, energyefficient spotlight

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Samurai mixers rely on iD22

May–June 2019 July–August 2019PRO PROAVL AVLASIA ASIA 105 41 Pro Audio Asia_total_314mm x 111mm.indd 1

20/08/2018 15:2

EDUCATION K-academy tours China CHINA: K-array recently hosted a series of K-academy seminars in Beijing, Hangzhou and Shanghai. The sessions, presented by K-array China, covered sound system design for large venues, and included product presentations and demonstrations of the manufacturer’s installed sound and portable systems, as well as its Concert Series. K-array co-founder and president Alex Tatini was in attendance at each session along with live sound product specialist Klaus Hausherr. Together, they provided an introduction to the

manufacturer’s product design concept for large venues. K-academy trainers then detailed the benefits of electronic beam steering, pure array and slim array technologies featured in K-array’s loudspeakers, with real-time demonstrations using EASE Focus software based on FIRmaker for speaker tuning. Several industry experts were also invited to discuss sound design. Zhu Heng, a renowned engineer in the field of architectural acoustics, discussed the relationship between the acoustic environment and the electroacoustic system. Meanwhile,

beyerdynamic wireless system engineer Chen Yugong explained why frequency planning is essential, providing data to highlight the current wireless frequency environment, before introducing the antenna setup within system construction. In addition, the Hangzhou event saw a Concert Series demonstration take place outside. In Shanghai, singer–songwriter Alessia performed for attendees with reinforcement from a MugelloKH2 loudspeaker setup. ‘The tour was a great success as we can really sense the

passion and interest in K-array from one of the biggest markets in the pro audio industry,’ said Tatini. ‘We would like to thank all the participants and related associations for their enormous

support. We also thank Beijing audio company Maxteam and Shanghai VAS Livehouse for providing first-class venues.’

settings of a variable curvature line source. This course offers an overview of rational design methodology using Soundvision modelling and simulation software,

including an introduction to the new Autosolver tools. The newly introduced Loudspeaker Systems Calibration training teaches systems engineers how to calibrate a loudspeaker system in a touring, rental or fixed installation project, and covers both verification and tuning of the system. Acoustic measurements and silent tuning are covered. The module also offers an overview of the new M1 measurement tools in LA Network Manager 3.0. Loudspeaker Calibration training and is currently in a pilot phase and will be available in October. L-Acoustics also presented two education sessions at InfoComm 2019. L-Acoustics sports facilities

experts Dan Palmer and Gino Pellicano hosted the Players & Perspectives in Sports Venues Sound System Integration panel on Wednesday 12 June, while on Thursday 13 June product manager Scott Sugden presented the Deploying Immersive Hyperreal Sound session. ‘Continuing education is important for professional growth in the AV industry,’ said Amanda Beckner, CTS, VP of learning, AVIXA. ‘We are pleased that companies such as L-Acoustics have invested in ongoing training and made their courses available to CTS holders through the RU programme.’

L-Acoustics expands AVIXA certification WORLD: In the run-up to InfoComm 2019, L-Acoustics extended its AVIXA CTS certification to include two new training modules. The manufacturer first announced AVIXA training back at ISE in the form of Soundvisions Basics and LA Drive System training. Engineers participating in the L-Acoustics Variable Curvature Line Source or Loudspeaker System Calibration training modules, either at an L-Acoustics location or via L-Acoustics Certified Providers throughout the world, will now also be able to receive CTS Renewal Units. The Variable Curvature Line Source training module teaches systems engineers and designers

how to optimise a line source for coverage, SPL and frequency response, highlighting important design parameters for the physical deployment and the electronic

www.k-array.com

www.l-acoustics.com

Concept introduces Powersoft launches new Shure systems ArmoníaPlus training videos MALAYSIA: Shure Asia and its distributor Concept Associates recently staged a launch event for the Microflex Complete, Microflex Complete Wireless and TwinPlex microphone solutions and product demonstration in Malaysia. The event was held at the Connexion Conference & Event Centre in Kuala Lumpur and was led by Shure Asia’s Rishmond Tew and Jack Ng. The event was divided into two sessions. The first provided a product overview and live demonstration of the new solutions,

while the second focused on Axient Digital and Axient Digital ADX Wireless transmitters. Microflex Complete is an integrated audio system combining microphone, loudspeaker, interpretation audio, and controls aimed at conferences and meetings. Microflex Complete Wireless, meanwhile, operates in the licence-free 2.4–5GHz frequency spectrum. ‘The event proved to be a great success for us as we had an impressive attendance turnout at both sessions,’ said Andrew Lee, COO of Concept Associates. ‘The event was attended by various targeted industry groups, such as audio professionals, audio engineers, dealers, special guests and respective industry partners, including systems integrators and project consultants.’ www.conceptaudio.com.my

42 PRO AVL ASIA July–August 2019

WORLD: Powersoft has released a new series of training videos for ArmoníaPlus. The hour-long set of tutorials covers the new features that Powersoft introduced when ArmoníaPlus was released last October. Aside from educating new users on the software, the goal of these tutorials is also to bring existing users who were familiar

with its previous iteration up to speed. ‘When we were designing ArmoníaPlus, we wanted to make the system easier to use and employ,’ said Powersoft US application engineer, Rick Woida. ‘We also wanted to make certain that we were still supporting our users who work with Armonía and

allowing them to learn the new features over time.’ ArmoníaPlus’ redesign includes a single window interface with four main views and takes advantage of hotkeys and simplistic icons to allow users to move between functions. Users can move through four main steps: Design, Config, Tune and Show, each offering a variety of functions and flexibility for different scenarios, as well as allowing users to audition different speaker presets easily. The YouTube tutorials cover all of these functions, as well as new features such as Shading, which allows the interface to reduce the gain of loudspeaker limiter thresholds coherently, keeping the balance between elements even if the system is limiting. armonia.powersoft.it

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DISTRIBUTION M3PA targets performance audio in Singapore SINGAPORE: Establishing itself as a new professional audio distributor in Singapore, M3 Professional Audio (M3PA) is differentiating itself by targeting high-performance entertainment promoters and venues within this mature and saturated marketplace. The dual founders responsible for its inception, however, are hardly novices. Passionate about music and live production quality, Alan Mathew is a renowned live mixing engineer who has acquired extensive regional PA knowledge having traded the top five worldclass brands. Having set up Sonos Libra in Thailand two years ago, Alfonso Martín is no stranger to starting new businesses and understands the challenges involved. Adding engineering experience to the mix, Martín advocates technical support and education as the company’s fundamental pillars for successful regional distribution. Adamson APAC director, Ben Millson, served as the catalyst bringing Martín and Mathew together. ‘I am extremely excited to have appointed M3PA as our new distributor for Singapore,’ he commented. ‘In recent years, Adamson has been underrepresented in Singapore.

L–R: The Three Amigos – Martín, Millson and Mathew – join forces to create M3PA in Singapore Having two very respected industry figures in the region now come together to form a company to address this will undoubtedly put Adamson on the map in Southeast Asia. By having Alan Mathew as the principal face of the business on the ground, together with the technical experience of Alfonso Martín, puts Adamson in a very strong position.’ Despite having heard many positive comments about one another over the years, neither

Martín nor Mathew had ever met. ‘Through Ben, we decided that our combined skillset would serve as a complementary catalyst in the creation of M3 Professional Audio,’ explained Martín. ‘As the distributor for Adamson in Thailand for more than two years now, we know that we represent a great brand. Adamson provides M3 Professional Audio with premium products, superb support, high rider acceptance and competitive pricing – a

Austrians find Australians AUSTRALIA: The unique designs of Austrian Audio’s OC18 and OC818 large diaphragm condenser microphones have been capturing the attention of professionals around the world. Melbourne-based distributor Group Technologies has been synonymous with brands such as DiGiGo, Nexo, Quest and RCF since the 1990s, but lacked a microphone product in its portfolio. ‘We never really found a mic brand that we could 100% get behind until now,’ commented Group Technologies general manager, Anthony Touma. ‘We prefer to represent quality European brands and have long admired the renowned quality of Austrian handcrafted microphones and headphones. Therefore, when we heard about Austrian Audio coming of age, we had to take a closer look. Having used the OC18 and OC818 mics, we knew we had found the right supplier.’ Founded in the wake of the closure of AKG Acoustic’s Vienna headquarters in 2017, Austrian Audio specialises in the R&D and manufacture of microphones, headphones, measurement systems and ODM developments. The team of 26 employees is almost completely comprised of former AKG Acoustics employees.

L–R: Austrian Audio CEO Martin Seidl welcomes Anthony Touma from Australian distributor Group Technologies ‘I couldn’t be prouder of what this heritage team has accomplished in under two years of development, and now into full production,’ commented CEO, Martin Seidl. ‘This is what happens when you reassemble a team that has decades of experience working together. We want to make the very best capsules so that users no longer need to fix it in the mix or with DSP. Ceramic carries all the material benefits of a heavyweight design but, as it is not metal, it is stable when it comes into contact with moisture.’ But is there a gap in a saturated mature marketplace such as

44 PRO AVL ASIA July–August 2019

Australia for another premium microphone brand? ‘We’re going to introduce Austrian Audio to our existing customers in rental, broadcast and live production,’ furthered Touma. ‘However, these mics are also going to give us more leverage into retail, houses of worship, education and studios. GT has some great relationships with Australian engineers and we’re looking for ward to letting them use the new models.’ www.austrian.audio www.gtaust.com

complete solution in the current market. ‘Singapore is a very exciting adventure for me. It presents a new set of challenges ahead of us as the Lion State is a very well-developed market with highly skilled companies that are requesting that edge to be even more advanced. Being such a condensed market, each action can have a strong impact, not only on the sales but also on how a network of partners work and interact. I’m really looking forward to meeting all the key players and being at their disposal.’ Having happily operated as an end-user over the past two decades, Mathew’s integrity and production values have transformed his status to that of an influencer and, in doing so, has attracted the attention of manufacturers seeking better sales penetration into Singapore. ‘I have been purchasing and reselling used equipment for several years now but, when Adamson approached me to represent them in Singapore, I was flattered. I had heard about their systems being used by Hillsong and Eighth Day, so that was good enough for me. Unfortunately, they lacked market presence in Singapore so I hadn’t

experienced them.’ That scenario changed earlier this year when Mathew flew to London to attend a Drake concert at the O2 Arena, which employed E15s as the main PA. ‘The concert was excellent and the E15s excelled. As an engineer I always insisted on using speakers that wouldn’t give me any problems during set up or on the night. Adamson are one of the few brands that fit into that category. Having attended Prolight + Sound in Frankfurt, I got to speak to Warren D’Souza of Sound.com, India and some other respected engineers and distributors representing Adamson and knew I had to come on board.’ Following the recent sale of a large Adamson S7 system by TPP, M3PA is initiating a programme of the Canadian manufacturer’s Applied and Advanced Certifications in addition to live production support for its initial productions and concerts using this system. In addition to establishing technical, engineering and sales support, MP3A is also looking to enhance its appeal by taking on complementary brands within its portfolio. www.adamsonsystems.com www.sonoslibra.com

Schoeps makes Australian connection AUSTRALIA: Schoeps has appointed Studio Connections Australia as its new distributor in the country. The deal was made following a thorough evaluation conducted between the two companies during the past few months. ‘We are delighted to begin this exciting partnership,’ said Deborah Sloss from Studio Connections. ‘Given our strengths within the studio, broadcast and film segments and the exciting emergence of immersive and 3D soundscapes, it makes perfect sense for us to partner with the excellence that is Schoeps Microphones, and it presents a wonderful opportunity to grow those strengths across the concert, conference and sports sectors of our business.’ Alex Schloesser from Schoeps commented: ‘When I started with the company in April 2018, there where two territories where Schoeps wanted me to focus my efforts to promote the

brand further and one of them was Australia. After plenty of discussions and asking for advice around the industry, I finally found my way to Deborah and to Studio Connections. We clicked right away and the feeling was also shared at Schoeps HQ in Germany. Studio Connections has a great assembly of pro audio brands in their lineup. There are very exciting times ahead of us now in Australia and I look forward to being a part of this.’ www.schoeps.de www.studioconnections.com.au

“The accuracy was the first thing I noticed. I pulled up a session that I knew needed some work in one particular area. Right out of the gate I heard it. I’ve never had that happen with a PA at the scale of the al-12. And output was equally impressive. Whatever level I wanted, I got, and with room to spare.”

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

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NEWS: DISTRIBUTION

Cambridge Sound PK Sound partners with Polar Audio in China arrives in ANZ ANZ: Biamp’s distributor in Australia and New Zealand, Jands, will now also serve as the distributor for Cambridge Sound Management sound masking products in the region. Biamp acquired Cambridge Sound late last year. ‘Through Jands, we’re able to bring Cambridge’s efficient, technologically advanced sound masking solutions to the region,’ commented Jim Seretis, consultant liaison and business development manager

for Australia and New Zealand at Biamp. Paul Mulholland, managing director at Jands, added: ‘We are very excited to add Cambridge Sound Management to our product lineup. As we can all see, open office spaces and huddle rooms are the new normal, and the need for this technology will continue to increase.’ www.biamp.com www.cambridgesound.com www.jands.com.au

CHINA: PK Sound has named Polar Audio Guangzhou as its full-service distributor in China. This means that Polar Audio will be supported by PK Sound’s headquarters as it provides solutions for customers, repair services, technical staff and audio consulting, as well as stock. ‘The deal came about as Polar Audio was searching for a highquality audio brand to complement their high-end video and laser offerings,’ recalled Jeremy Bridge, CEO and chief engineer at PK Sound. ‘As a renowned audio designer, Polar Audio’s CTO became aware of the technology, made multiple visits to the factory and attended live events where our loudspeakers were being used as well. Polar Audio was looking for a world-class company that they believed could overtake established top-level brands.’ ‘The global marketplace for professional speaker technology is crowded at present, with dozens of manufacturers offering essentially the same products,’ furthered Polar

Audio’s CEO, Chen Hongquan. ‘PK Sound provides unique solutions and technology not offered by other manufacturers. In PK Sound we have a powerful partner that has recognised the market’s needs with its revolutionary Trinity robotic line array and subwoofer solutions. Their meticulous development work and state-of-the-art materials have paved the way for a new generation of PA systems. The proprietary control software serves as added value for our customers and allows us to provide the full package;

a perfect combination of sound quality, precise control and intuitive rigging solutions. We are very proud to introduce PK Sound’s products to the Chinese market.’ Bridge added: ‘It’s important to grow the global network in the correct manner and choose the right partners from the beginning. Growing this global network will be a primary focus for PK Sound in 2019.’ www.pksound.ca www.polaraudio.info

Christie gains a new voice in China CHINA: Christie has announced Dicction as the new, exclusive distributor of its LCD projectors in China. Established in 2016, Dicction is headquartered in Beijing and has set up branch offices across 20 major cities, including Shanghai, Wuhan, Nanjing and Xi’an. Its staff of more than 100 will therefore be able to provide better visibility and market presence for Christie’s LCD projector range, including the

laser-illuminated DS Series and APS Series. ‘We will continue to leverage on our comprehensive system architecture, service capabilities and Christie’s advanced technology and cutting-edge solutions to open up a broader market,’ said Leo Zhang, CEO at Dicction. ‘I look forward to working closely with the Christie team to build a long and fruitful business relationship.’

‘China has always had tremendous opportunities for us in various industries,’ commented Michael Bosworth, Christie’s enterprise executive director for APAC. ‘I look forward to working with Dicction in expanding our channel network and making our LCD projection solutions more accessible to our customers in China.’ www.christiedigital.com www.dicction.com

L–R: Michael Bosworth and Leo Zhang

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46 PRO AVL ASIA July–August 2019

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NEWS: DISTRIBUTION

GUZ BOX design + audio takes on AFMG distribution ANZ: AFMG has appointed GUZ BOX design + audio as its new distributor for Australia and New Zealand. This follows the news that Peter Patrick, head of AFMG’s previous distributor in the region, Scientific Acoustics, is retiring. GUZ BOX’s managing director, Tim Kuschel, is well versed in AFMG’s software offerings, having organised and conducted EASE training seminars across Australia and throughout Asia. Previous sessions in Australia were in fact organised in collaboration with Patrick and the Scientific Acoustics team. In addition, Kuschel possesses more than 20 years of experience in environmental noise

Tim Kuschel and Peter Patrick hosting an EASE training session in Singapore measurement, building acoustics and professional sound-system

Green-Go to Event Communications

AUSTRALIA: ELC Lighting has appointed a new distributor in Australia for its Green-Go range in the form of Event Communications Australia. ELC is the manufacturer of the Green-Go digital intercom systems designed for event production and broadcast applications. The new Sydney-based

design. He is a member of the Australian Acoustical Society (AAS), the Audio Engineering Society (AES) and the Society of Acoustics Singapore (SAS).

‘I will be taking over from Peter Patrick for the distribution, support and training of AFMG software products throughout Australia and New Zealand,’ Kuschel confirmed.

‘I’ll also continue to provide training and support of the AFMG products in Southeast Asia, as I have already been doing for several years.’ AFMG released a statement thanking Patrick for his work throughout the years and wishing him the best for his retirement. ‘We would like to thank Peter for his assistance and encouragement in suppor t, as a beta tester and also as a trainer for AFMG software,’ it said. ‘We are proud that he has represented us with his company for so long as a par tner with an excellent reputation and outstanding exper tise in his region.’ www.afmg.eu www.guzbox.com.au

two-way radio, four-wire devices, remote bridging – and all completely scalable. It’s the only IP-based event communications system on the market, it’s well priced and offers a simple solution for basic to complex communication.’ Nassi joined Event Communications from his

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partner is a specialist provider of professional comms systems for the events market. To meet the demand for Green-Go products throughout the country, Event Communications has been forming new relationships with partners around the country while also hiring Robbi Nassi, a well-known figure in South Africa’s production industry, as a Green-Go specialist. ‘We see great potential for Green-Go Digital in this market,’ commented Nassi. ‘We’ve seen success from live events through to broadcast, and we’re sure it will continue its growth into sporting events and other exciting potential areas of use. The Green-Go system is easy to grasp, yet offers powerful control and the ability to interface with existing party-line systems,

previous role at Johannesburgbased Electrosonic SA. Having recommended the Green-Go brand to his former colleagues, Electrosonic found the technology to be an ideal fit for their distribution portfolio, and the manufacturer has simultaneously appointed the distributor as its newest partner in South Africa. ‘We welcome Event Communications Australia and Electrosonic South Africa to our growing family,’ stated Green-Go’s Silvio Cibien. ‘Both companies are experts in their markets, have a passion for production and put their customers first, all of which makes them ideal partners for Green-Go.’ www.elclighting.com

The new DE360 ring radiator high frequency driver features a ketone polymer diaphragm with a neodymium magnet motor. Extensive FEA modelling and physical testing over the last several years has culminated in these 1.5 inch (38mm) coil, ring radiator drivers with outstanding sensitivity, high frequency extension, and compactness. A practical recommended crossover point of 1.8kHz and sensitivity of 110dB allow the DE360 to be suitable for a wide range of applications, including compact two way point source boxes and line arrays.

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July–August 2019 PRO AVL ASIA 47

APPOINTMENTS Powersoft bolsters APAC team APAC: Powersoft has appointed Raymond Tee as application engineer for the APAC region. Tee brings a wide range of experience in live sound and fixed install applications to the role and will report to Powersoft’s global business development manager for fixed install and application engineering manager, rack amplifiers, Marc Kocks. Tee’s primary duties will be to support Powersoft’s distribution networks and end-users in the region, enabling them to get the most out of the company’s products, as well as providing training and support for the control software platform, ArmoníaPlus.

Kocks commented: ‘Raymond has proven to be a perfect fit thanks to his work as an application engineer for other manufacturers, as well as his experience with local Malaysian companies. The APAC region is a very important one for Powersoft, with many established and emerging markets, and this appointment strengthens the team even further.’ After being chosen for the role, Tee undertook an intensive training period at the Powersoft headquarters in Scandicci, Italy and he has been conducting training sessions with end-users and distributors in the APAC region since then.

Raymond Tee

‘At Powersoft we are investing heavily in enlarging our application engineering team,’ continued Kocks. ‘We want to help customers get back the value they pay for our products, and we have put in place a global team available 24 hours a day to assist end-users, consultants, systems integrators, rental companies and distributors with design support, training and integration of our products.’ Having been an admirer of the company from afar, Tee said: ‘It’s the technology inside Powersoft amplifiers that has always impressed me. I first came across them in the early 2000s when I was working in Malaysia as a systems engineer.

Back then we were used to very chunky amplifiers, and to see a unit so compact able to deliver such power without compromising the audio quality was simply mindblowing for me. When I discovered that I was going to be able to work for such a company, I was ecstatic.’ He added: ‘Throughout my career working with various companies, I’ve realised it’s a very rare thing to rub shoulders with the founder of the company. At Powersoft, I’ve been able to experience just that. To see the founders of a company that I’ve so admired still hard at work is a real privilege.’

returning to a senior role in sales planning at SEC. As former head of SEC’s sales and marketing division, Munenori was responsible for developing the sales infrastructure and

of Epson China from 2014– 2017, where he led Epson’s ‘technology plus localisation’ strategy, growing the business and increasing the company’s share in key markets. During

strategy for all of Epson’s products globally. He has held multiple leadership positions in Asia and internationally and brings a depth of understanding of the region and decades of management experience to his role. He previously held a leadership role as president

2003–2008, Munenori was also assigned to regional headquarters in Singapore, where he was in charge of market development for Epson’s printers and other informationrelated products.

www.powersoft.com

Lynx Technik Epson Singapore appoints MD brings in new product manager

Varun Patel WORLD: Lynx Technik has hired Varun Patel as product manager for its entire catalogue of modular inter faces for broadcast and professional AV signal processing applications. Patel will lead product management strategies and roadmaps, assessing customer and market needs. He will work with customers, partners and other key stakeholders to

identify how the manufacturer’s products can best be implemented. ‘I’m looking forward to building on Lynx Technik’s vision and working with the entire team to articulate customer requirements into innovative solutions that create value and solve problems,’ Patel commented. He holds an MBA in information technology from SP Jain School in Australia, as well as a Bachelor of Electronics Engineering from JSS Academy of Technical Education in Mauritius. His prior experience includes various product management and engineering roles. ‘We are very excited to have such an impassioned individual join our team,’ said Stefan Gnann, CEO of Lynx Technik. ‘With Varun’s experience and commitment to innovation, he will be instrumental in helping the company deliver on existing and new technological advancements.’

SINGAPORE: A new managing director has been hired at Epson Singapore. Ando Munenori will serve as the new MD overseeing the Southeast Asia region, and is concurrently country manager

Ando Munenori for Epson Thailand and Epson Philippines. Munenori also simultaneously holds the role of executive officer at Seiko Epson Corporation (SEC) – Epson’s global headquarters in Japan. Munenori takes over from Tanaka Toshimitsu, who will be

www.epson.com.sg

www.lynx-technik.com

Ross Video’s Oscar Juste adds new regions WORLD: Since Oscar Juste joined Ross Video in 2016 as director of sales for EMEA, he has seen the company’s turnover in the region on track to double. As a result, Ross has promoted Juste to the role of vice president of sales for EMEA, Asia and LATAM. ‘I’m ver y excited to be taking this next step in my career

with Ross,’ said Juste. ‘Our enormous success in EMEA has been thanks to the hard work of a ver y dedicated group of professionals in the region, coupled with invaluable suppor t and investment from the senior management team in Canada. ‘Ross has enormous global potential and I know

48 PRO AVL ASIA July–August 2019

Oscar Juste

we can continue to expand our footprint and bring our compelling range of solutions to an even wider group of customers around the world.’ ‘Oscar ver y quickly established himself as a key member of our sales leadership team and has consistently over-delivered on the challenging targets set

for his region,’ commented Ross Video EVP and CMO, Jef f Moore. ‘His business acumen and highly focused approach have been valuable assets to Ross, and I’m sure he’ll enjoy even greater success in this new and expanded role.’ www.rossvideo.com

NEWS: APPOINTMENTS

Listen Technologies elects new president WORLD: Maile Keone has become president at Listen Technologies. She first joined the company in 2013 with a background in sales, marketing and operations, and most recently served as its chief revenue officer. As president, Keone will be responsible for executing the company’s business plan. Listen Technologies founder Russ Gentner was the previous company president. Vacating that position to focus on strategic

planning, business development and partnerships, he will remain as CEO. Gentner will manage the dayto-day operations of the company with help from Tracy Bathurst, who has been promoted to senior vice president and continues as chief technology officer. ‘It has been an honour to serve as president of Listen Technologies and I am incredibly proud of the growth we have experienced as an organisation’,

product innovation and delivering exceptional customer experiences,’ added Keone. ‘I am extremely proud of the passion and daily execution in our organisation and look forward to taking firm hold of the opportunities in front of us. Our work makes a difference in the lives of those who hear better because of the solutions we create and service we provide.’

Maile Keone

said Gentner. ‘We will continue to develop industry-leading products, deliver outstanding customer service and forge strong industry and channel partnerships. Maile has been instrumental in this success, increasingly taking on the responsibilities of president and executing our business plans.’ ‘Russ’ ambition and visionary leadership lays the foundation for our future and challenges us to identify new ways to excel in

lighting systems in Los Angeles. ‘This is a great opportunity for me, and it comes at just the right time,’ said Forsythe. ‘We have a superb engineering staff, and our business is strong and growing. We’ve developed groundbreaking technology that is making a big difference for our customers. And what you see now is just the beginning. We’re developing amazing new products, and I’m excited to be a part of it.’

needs, which has contributed greatly to his success as our business

development manager. With his strong technical background and understanding of loudspeaker systems and their applications, he has already made important contributions to our vision for the future of our products. Jeremy has richly earned this position, and I could not be more pleased.’ Before joining the company his father helped establish, the younger Forsythe worked as an architect and architecture project manager in New York, before moving on to design nightclub sound and

EAW promotes Jeremy Forsythe WORLD: Jeremy Forsythe, who joined Eastern Acoustic Works in 2017 as business development manager, has now been promoted to the position of director of product management. ‘Jeremy Forsythe is the obvious choice to be our director of product management,’ claimed EAW president, TJ Smith. ‘Although he just joined the staff two years ago, Jeremy has always been a part of EAW, as his father, Kenton Forsythe, is one of our co-founders. Jeremy’s first-hand experience designing

Jeremy Forsythe sound systems gave him an excellent sense of our customers’

www.listentech.com

www.eaw.com

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dpamicrophones.com/dvote Made in Denmark

July–August 2019 PRO AVL ASIA 49

NEWS: APPOINTMENTS

Audac appoints APAC sales representative APAC: Sebastian Chong has joined Audac as sales representative for the Asia Pacific region. He will work with the Belgian manufacturer’s regional partners to increase its sales network and market share. Audac states that having a dedicated sales representative will enable a better service for its users in the territory. ‘Sebastian will be a valuable addition to the team because of his extensive amount of technical and commercial experience in the professional AV industry,’ said

Mark Asselberghs, international sales director at Audac. ‘The appointment of Sebastian shows the commitment and increased focus in the APAC region, which we see as an important growth field in the coming years.’ Chong is excited to join the team at Audac. ‘It is exactly what I was looking for in a team: smart, innovative and creative,’ he said. ‘I look forward to utilising my skills to assist in the continuous APAC growth.’ L–R: Mark Asselberghs, Sebastian Chong and CEO Tom Van de Sande

Audinate co-founder named CEO

WORLD: Audinate’s co-founder and CTO Aidan Williams has been appointed as the company’s new CEO, succeeding Lee Ellison who recently announced his decision to retire. ‘Lee has been a key contributor to the growth of Audinate, and the results speak for themselves,’ said Audinate chairman, David Krall. ‘Under Lee’s leadership as CEO over the past 11 years, Audinate has become the global market leader in audio networking for the professional AV industry. Lee led the company through its successful IPO in June 2017 and, since its listing, Audinate has consistently delivered strong results and record growth. ‘Together with Lee and the board, we developed a succession plan over the last year to ensure a smooth transition of the CEO role. Our plan was for Aidan to follow Lee into the CEO role, and we are

Aidan Williams delighted that this will occur. Having co-founded Audinate, Aidan has been a guiding force in its product innovation and strategy and will continue to do so as CEO. With a talented team in place, we are confident of a smooth transition and continued growth.’ Williams looks forward to building on the success of Lee’s leadership.

ETC names CEO

Dick Titus WORLD: Following the passing of ETC co-founder Fred Foster who passed away earlier this year, the lighting manufacturer’s board of directors has appointed Dick Titus

as the new president and CEO. Titus is the former COO of ETC and, having helped to start the company in the 1990s, has also served as president for the last 17 years. The

50 PRO AVL ASIA July–August 2019

‘We are at a very exciting point in the company’s development, with strong ongoing momentum highlighted by achieving the milestone of 2,000 Dante-enabled OEM products available for sale,’ said Williams. ‘Having been closely involved in the technology and strategy of the business to date, I see my role as leading the team to unlock the value embedded in transforming the global AV industry through networking and software.’ The retiring Ellison commented: ‘I am comforted in my decision to enter retirement, believing the time is right to hand the leadership over to Aidan. Aidan, and the rest of our experienced executive leadership team, has built a close working relationship over many years, and I am confident that Audinate will continue to thrive under his leadership.’

www.audac.eu

Kane Zhang joins EZPro HONG KONG: Hong Kong-based distributor EZPro has hired pro audio industry veteran Kane Zhang as vice president and chief technical officer. He will oversee and support the production and maintenance of EZPro’s networked audio standard.

as the InfoComm CTS-D Audio Engineering certificate. ‘I am very happy to be able to join EZPro as the vice president and CTO,’ said Zhang. ‘EZPro has always strongly motivated the industry in terms of technical development and

www.audinate.com

Kane Zhang

appointment follows a period of success for ETC, having acquired EchoFlex Solution in 2018 and former partner Avab Transtechnik France earlier this year. ‘It’s an honour to lead the executive staff,’ commented Titus. ‘Together we have a vast amount of experience serving the people of ETC and our customers. We have a unique culture, and I’m committed to building that for years to come. We have always been a company built on a model of personal responsibility. Our path of consistent growth continues to come from the wide variety of talents of our dedicated staff around the world.’ www.etcconnect.com

Zhang previously worked for Biamp, where he was responsible for technical support and marketing in the APAC region. His combined 30 years of industry experience covers everything from conference audio systems to background music solutions to assembly halls, broadcast centres and public announcement systems. He has experience in DSP programming and third-party control software programming, as well as systems design testing and deployment, in abundance. He is also considered an expert in AV networking, possessing a variety of certifications, including Cisco’s CCNA, Extreme ENA&ENS and other network engineering qualifications, as well

establishing standards in China. A while back, EZPro also formed the EZPro College, sharing knowledge and information with other professionals. This aligned per fectly with my vision, as I support the idea of pushing technology forward through collaborated efforts. In the future, I would like to leverage my knowledge and experience to lead a team that truly pushes the development and deployment of audio standards, and continues to help build the cornerstones of this industry. At the same time, I wish to focus on providing clients of EZPro with a better technical inquiry and support experience.’ www.ezprointl.com

PRODUCTS NEWS: APPOINTMENTS

Crestron its muscles names SOUNDBITES flexes Sennheiser AVIXA NAMES CGO

WORLD: The Audiovisual and Integrated Experience Association (AVIXA) has announced Sarah Joyce as its new chief global officer. She takes over from Terry Friesenborg, who will retire at the end of the year.

new business communication director

WORLD: Sennheiser has appointed Ron Holtdijk as its new director of business communication, where he will be responsible for the manufacturer’s business communications strategy, particularly in the field of ceiling array microphones and in the growing education market. ‘The outstanding breadth, depth and international scope of Ron’s experience is an ideal fit for

Sennheiser’s ambitious vision and company culture,’ said Peter Claussen, COO at Sennheiser. ‘He will bring his broad experience and insight to our BizCom management team and play an instrumental role in driving forward our strategy in B2B markets.’ Holtdijk is described as an accomplished audio industry executive with 25 years’ experience in the sector. He

joins Sennheiser from Bang & Olufsen, where he was director of its global business-tobusiness division and played a key role in developing the company’s por tfolio and go-to market strategy in this field. He will be based at Sennheiser’s headquar ters in Wedemark and repor t directly to Peter Claussen. Ron Holtdijk

www.sennheiser.com

Sarah Joyce Joyce previously worked at Electrosonic for 12 years, most recently serving as managing director. ‘Sarah has been part of the AV industry for 20 years,’ explained AVIXA CEO, David Labuskes. ‘I’ve seen first-hand her passion for the industry we serve, her leadership experience on a global stage and her direct knowledge of our many constituencies, from manufacturers to integrators, and distributors to end-users. We are incredibly fortunate to have Sarah joining us as chief global officer and leading our continued global expansion.’ www.avixa.org

ADAM HALL CREATES CTO POSITION WORLD: Adam Hall Group has announced Andreas Modschiedler as its chief technology officer. In this newly created role, Modschiedler

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Andreas Modschiedler will oversee the IT and R&D departments. He has served as the group’s head of IT and digital since December 2016. ‘We are delighted to have Andreas Modschiedler on the team,’ said Alexander Pietschmann, CEO of the Adam Hall Group. ‘With him as CTO, we will take the operational steps crucial to moving forward with our global digital transformation.’ www.adamhall.com

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SMARTER LIGHTER FASTER STRONGER NEW ACOUSTIC DESIGN TO ENHANCE THROW DISTANCE AND COVERAGE 56BIT DSP WITH FIR FILTERS FOR A PERFECT INTELLIGIBILITY 3-POINT RIGGING SYSTEM FOR SMOOTH CONFIGURATION AND SET UP ONLY 29 KG PER WOODEN TOP MODULE 1x18” ACTIVE FLYABLE SUBWOOFER DESIGNED FOR MAXIMUM LOW-END EFFICIENCY 3x18” ACTIVE SUBWOOFER WITH AN OUTSTANDING POWER / DIMENSIONS RATIO ON-BOARD RDNET REMOTE CONTROL

VIO S318

Active semi-horn loaded bassreflex subwoofer LF 3x18” Frequency Response (-10dB) from 35 Hz 3x DIGIPRO® G3 Class D 2700W/RMS Amplifier Max SPL 143 dB Delay control up to 9.9 ms On-board cardioid array configuration preset

info@dbtechnologies-aeb.com www.dbtechnologies.com

VIO L210

Active 2-way line array module HF 1x1.4” Neodymium LF 2x10” Neodymium DIGIPRO® G3 Class D 900W/RMS Amplifier Max SPL 135 dB On-board double rotary EQ Control System

dBTechnologies

VIO S118 NEW

Active horn-loaded flyable subwoofer LF 1x18” Neodymium Frequency Response (-10 dB) 33 Hz DIGIPRO® G4 Class D 1600 W/RMS Amplifier with PFC Max SPL 139 dB Modular slot for expansion cards System auto-test for quick diagnostics

NEWPRODUCTS

INSTALLATION • AV • LIVE SOUND • BROADCAST • POSTPRODUCTION • RECORDING • LIGHTING A-ZCONTENTS X4L

Powersoft gains added X-factor The X4L joins Powersoft’s X Series, delivering four channels of amplification for high SPL woofers with the help of recycled energy POWERSOFT’S X Series amplifier range, which includes the eight-channel X8 and four-channel X4 models, has grown with the addition of the X4L. Much like its sibling the X4, also offers four channels and is designed to deliver the output voltage required by the latest generation of high-performance loudspeakers on the market, in particular woofers with high SPL requiring an equally high voltage. Designed to deliver a peak of up to 300V, the power of the X4L is described by the Italian manufacturer as translating to a ‘more audible impact from the music itself’. As modern high-performance loudspeakers are decidedly reactive, a lot of the energy they receive can be recycled as it is returned to the amplifier, saving between 2–4dB. This ability has been instrumental in making the X4L viable, according to Powersoft. When put to use in applications not requiring quite so much power, the X4L

reportedly has the ability to drive more cabinets in parallel in comparison to other solutions, saving time during system set up and truck space on the road, as well as on costs. Five output connectors allow for configuration flexibility, for example, driving a cardioid sub system with channels one and two, while channels three and four power two-way front-fills simultaneously. ‘In such a configuration, the X4L is capable of giving 1dB more power to the two most power demanding channels, which in this case would be the sub channels,’ explained Powersoft product manager, Klas Dalbjörn. Powersoft has also released a new OEM solution in the form of Loto, a one- or two-in/four-out processing board to add advanced DSP functions to powered products. Two versions are available: Basic and Advanced. Both versions feature the same characteristics as the

X Series platform, offering parametric raised cosine filters, custom FIR and IIR equalisers, as well as TruePower, RMS and peak limiters, Active Damping Control and live impedance, all of which are managed using ArmoníaPlus. A pair of AES3 digital input streams into Loto via XLR connectors, while Dante digital audio networking architectures are supported with two inputs and two outputs. Additionally, Loto is compatible with Digimod PFC2- PFC4, IpalMod, the Litemod family and Minimod4 amp modules. Speaking of the LiteMod Series, MiniMod4 and DigiMod PFC2/PFC4 amp modules, Powersoft’s new DSP-Lite ETH, a one- or two-in/three-out processing board, has been built for use with them. Its compact interface panel is compatible with mono-in/link-out or stereo-in configurations. www.powersoft-audio.com

Micro amp from Quest THE HALF-RACK size QXA amplifier from Quest Engineering is described as the complete sub/satellite amplification package for powering a full-range bar/ restaurant audio system. Two 300W RMS satellite and one 600W RMS sub bass

channels, all with crossover and limiter protection, make the MXA2.1 combine power and functionality with a small physical footprint. The system can power up to eight Quest MX series satellite speakers in crossover or full-range mode,

plus two MXS10 series sub basses. Alternatively, any small- or medium-format mix and match can be installed and powered with the MXA2.i1 system. www.questaudio.net

Absen Aries Series/CR Series/Absenicon Adamson S7/S118/S7p/S10p Allen & Heath dLive Wings/C1500 Amate Audio N318 Antelope Audio Edge Go/Orion32+ AtlasIED Z Series/SHS Series/IPX Series Attero Tech Axon C1 Audinate/intoPIX Dante AV Module Avid Avid Link B&C Speakers DCX464 beyerdynamic TG 500H-C and TG 500H-D update Blackmagic Design Ursa Mini Pro 4.6K G2 Bosch LB20 series Bose DesignMax/PowerSpace/PowerShare Broadcast Pix BPswitch IX BroaMan Route66 update Calrec ImPulse/VP2 Canon LX-4K3500Z Celestion Big Red Horn/CDX14-3040 Chauvet Ovation PAR series Claypaky HY B-Eye Coda Audio Linus Control v2.0 d&b audiotechnik B8-Sub/Bi8-Sub/ArrayCalc Exchange dBTechnologies Vio X205/Vio W10/FMX series/Sya DiGICo SD12 and SD10 upgrades Digigram IQOYA Talk disguise vx 4 dnp denmark Supernova STW Drawmer 1974/1976 EAW KF810P Extron ShareLink Pro 1000/ECM S10 Faital Pro 12XL1200 and 15XL1200 FBT Myra 214L and 218S/Infinito/JMaxX Focusrite RedNet Control 2.3/free licence for Reference 4 Fohhn Accessories for Focus Venue and PT-70 Funktion-One Vero VX GatesAir Flexiva FMXi 4g Genelec Aural ID GLP impression FR1 track-mount version/KNV Line Green Hippo Hippotizer V4.5 Hitachi SK-HD1800 HK Audio Linear 7/Linear 3 additions JBL Professional CPi2000/PRX800 V2 Just Add Power 767DSS/726TVI KV2 Audio ESD Cube L-Acoustics Arcs A15 and A10/KS21 Lawo A__stage 80, 48 and 64/dual fader for mc256 LD Systems U500 IEM Series Lectrosonics ALP690/DCHT Lynx Technik HDR Evie Mackie DRM Series Merging Technologies Anubis Meyer Sound Ultra-X40/M-Noise/MPS-482HP/UPQ-D3 MXL Microphone Blaze 990 NewTek NDI 4/LightWave 3D/VMC1 software Out Board TiMax HardCore FGPA/TrackerD4 Panasonic SQ1 series/CQ1 series Peavey Neets TanGo Peerless-AV Smart City Kiosk/Xtreme High Bright PixelFLEX FlexUltra PixelShield PMC IB2S-AII/IB2S XBD-AII Powersoft X4L/Loto/DSP-Lite ETH PR Lighting Arc LED 1572/XPAR 543 Quest QXA amplifier RCF Ayra Pro/RDNet version 3.1 Riedel Artist-1024 Ross Video Xpression V9.0 Shure TwinPlex/ADX series Solid State Logic SiX/S500m/Dynamic Automation Software Sommer Cable SC-Silver Spirit Sonifex AVN-AIO4/AVN-AIO8 Sony REA-C1000 Soundking Artos Studio Technologies Model 207/Model 348/Model 381 TASCAM Series 102i/Series 208i Tasker C282 Super/C726 PUR Super Telestream Vantage Cloud Port/OptiQ/CaptionMaker 8 TSL Products SAM-Q and SAM-Q-SDI UNiKA NBB-0202 Vaddio CeilingMic WorkPro SoundNut additions/WSF 500 CX and WSF 10 CX Yamaha DXRmkII update/CS-700 SIP/TF Series V4.0

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S7 premieres in Adamson’s S-Series ADAMSON HAS expanded its tour-grade S-Series range of loudspeakers. The new S7 ultracompact, two-way, full-range line array enclosure contains two ND7-LM16 Kevlar neodymium drivers (16Ω each) and an NH3-8 1.4-inch exit compression driver (8Ω). A slightly curved wavefront is produced by the critically optimised sound chamber, with a nominal dispersion pattern of 100° x 12.5° (HxV). The chamber has been built to allow for increased vertical dispersion without sacrificing high-frequency presence in the far field, while the manufacturer’s Controlled Summation Technology eliminates low-mid lobing.

S7 Complementing the S7 on the lower end of the frequency spectrum is the S118 subwoofer. This enclosure features a lightweight, long-excursion, 18-inch ND18-S Kevlar neodymium driver that makes use of Adamson’s Advanced Cone Architecture, in addition

to a 4-inch voice coil for power handling. Both the S7 and S118 include the SlideLock Rigging System first employed on Adamson’s S10. This facilitates simple suspension without the need for a stacking pin. A single technician can reportably prep and fly an entire array.

It’s not just line arrays that Adamson has been focusing its attention on. The new S7p and S10p are two-way, full-range point source cabinets. They each include an NH3-8 1.4-inch exit compression driver (8Ω), and while the S7p features dual ND7-16 low-mid drivers (16Ω each), the S10p has two pairs of ND10-LM low-mid drivers. The prolate spheroidal waveguides of both point source units produce a nominal dispersion pattern of 70° x 40° (HxV), rotatable in 90° increments. This waveguide design aims for an equal tonal balance when moving outside of the intended coverage pattern, to deliver

S10p natural sound with no diffraction or lobing. www.adamsonsystems.com

July–August 2019 PRO AVL ASIA 53

PRODUCTS

Amate adds to its Nítid series AMATE AUDIO has introduced the N318 to its Nítid active loudspeaker series. The 1,230mm x 520mm x 540mm full-range, integrated, three-way PA cabinet incorporates 18-inch and 12-inch transducers, a 1.75-inch diaphragm hornloaded compression driver and Amate Audio’s on-board, integrated, third-generation, Class-D amplification and DSP system control platform to deliver 3,200W of power and 133dB SPL. A more powerful amplifier platform – 2,400W (LF) and 800W (MF/HF) – drives a 4-inch voice coil 18-inch LF driver, 3-inch voice coil neodymium 12-inch driver and a new 1.75-inch PM4 diaphragm HF compression driver, loaded with a long throw horn. The midrange transducer assembly features a specially designed phase plug for the driver, creating two separate in-phase output sources for better controlled horizontal directivity. Increased compression in the 12-inch driver also helps boost output. Improved output levels and frequency consistent directivity combined with higher signal resolution and audio fidelity help the N318 to deliver higher sound quality over a longer throw with wider horizontal coverage, making it suited for a wide range of medium- and large-scale indoor and outdoor sound applications

Compact footprint solution FUNKTION-ONE HAS released its Vero VX, developed over the last three years to offer sound for a wider range of venues and environments due to its more compact footprint. The Vero VX system comprises VX90 full-range vertical array elements, V124 or V221 bass enclosures, amp racks, fly bars, transport dollies, groundstack hardware, cabling and projection predictive software.

as well as FOH PA and side-fill and drum-fill stage monitoring roles. DSP system control is accessed via Amate Audio’s SensitiveTouch keypad technology from the rear-mounted control panel with LCD display, and includes five-band EQ, crossovers, up to 118ms/40m delay line, limiter, gain control, mute and input dynamic compressor, while plug-and-play presets reportedly enable a quicker set up. The ‘ultra-thin’ speaker grille design is said to provide robust

protection but with a 67% perforation coefficient. A polyurea finish protects the birch-ply cabinet, while electronic circuits and controls safeguard against moisture. A universal switch mode power supply also claims to provide 90% power efficiency to the amplifier circuitry. Weighing 67kg, the N318 features a tilt and roll design with fixed, rearmounted wheels and ergonomic handles. M8 rigging points are also provided. www.amateaudio.com

Vio X condensed DBTECHNOLOGIES HAS condensed the power of its Vio X point source series down to fit within a 150mm x 485mm x 240mm cabinet that weighs 7.8kg. The result is the Vio X205 active system, suitable for use as a small full-range system, an FOH monitor, in fixed installations or

Vio W10

Vio X205

for front-fill in medium and large sound reinforcement systems. Two different models are available: the Vio X205-60 for 60° x 60° coverage and the Vio X205-100 for 100° x 100°. A two-way system equipped with dual 5-inch LF and a single 1-inch HF component, the Vio X205 features a Digipro G3 400W RMS amplifier module and, like its bigger Vio X siblings, allows remote control via RDNet communications and Aurora Net control software. Another new addition to the wider Vio line is the Vio W10 active wedge. At just 16.5cm high, this unit offers variable

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acoustic focus using on-board presets such as default, close, wide and far, or via Aurora Net software and RDNet. The FMX monitor series of active coaxial monitors has been launched by dBTechnologies in 10-inch, 12-inch and 15-inch models, all equipped with the latest DSP with a linear phase FIR filter for directivity and adaptability. Other new solutions recently launched include Sya, a two-way active speaker series, which also includes 10-inch, 12-inch and 15-inch models; the Sub 900 series of 15-inch and 18-inch subwoofers; and the new passive full-range cabinets that form the LVX P series, with cabinets varying from full-range 8-inch to 15-inch models to 15-inch and 18-inch subwoofers. www.dbtechnologies.com

The VX90 is a three-way vertical array element with four newly designed neodymium drivers in a horizontally symmetric configuration: two reflex-loaded, high-efficiency, 12-inch mid-bass drivers; one Axhead-loaded, wide-bandwidth, 8-inch cone midrange driver; and a single 1-inch compression driver on a proprietary isophase diffraction waveguide. The VX90 measures 1,120mm x 340mm (WxH), its usable bandwidth is 50Hz to 20kHz and the horizontal dispersion is 90°. The patented Lambda rigging system results from 40 years of development and refinement of the manufacturer’s rear tension rigging methods. This enables cabinets to be transported and flown as

straight columns, then tensioned into preset angles once the complete array is suspended. The Lambda system’s optimised rotation axis is said to ensure perfect alignment at vertical angles between 0–12.5° for coherent summation. There is a choice of fixed- or movable-point flying beams. The movable-point beam incorporates motorised

adjustment, enabling the inclination and declination of the entire array to be remotely set while flown from a single motor. Funktion-One’s driver and waveguide technology also enables a single transducer to cover ‘more than four octaves of the audio spectrum’, from 300Hz to 5kHz. This approach reportedly ensures vocals and musical harmonics are coherent in both time and space, providing benefits in clarity, intelligibility and stereo imaging. Designed to be more energyefficient, the Vero VX means up to eight cabinets can be powered from a single amplifier, while a 32-box system plus additional subwoofers can be powered by six amps. www.funktion-one.com

Soundking bestows an ‘all-in-one’ solution SOUNDKING HAS launched its Artos system for portable sound reinforcement. It is a self-powered, all-inone vertical array solution that includes six 3-inch mid-frequency transducers, a 1-inch high precision driver, coupled with a subwoofer featuring a 10-inch transducer, as well as an on-board mixer that offers control without the need for a console. Artos’ four-channel mixer enables use in a wide range of applications, and the system is able to connect to microphones, instruments, playback

devices and wireless Bluetooth streaming sources. The system also possesses built-in DSP and a graphical user inter face. www.soundking.com

PRODUCTS

Mackie unveils new flagship series DEVELOPED FOR mobile DJs, bands, installations, houses of worship and rental systems, Mackie’s DRM loudspeakers provide up to 2,300W of power via Class-D amplifiers. Universal power supplies (100–240V) feature Power Factor Correction technology that reportedly regulates incoming voltage for peak performance even with unstable AC power. The series consists of the DRM212 (12 inches/1,600W), DRM215 (15 inches/1,600W), three-way DRM315 (15 inches/ 2,300W), DRM12A array (12 inches/2,000W) and DRM18S subwoofer (18 inches/2,000W). At the heart of every speaker is Mackie’s Advanced Impulse DSP module. The manufacturer also

The DRM family reports that precision crossovers, transducer time-alignment and tuned FIR filters overcome the physical attributes that can contribute to poor sound.

The Control Dashboard features a high-contrast, full-colour display on the back panel to reportedly provide a quick and easy set up. Full-range models offer three-band

parametric EQ, venue-specific voicing modes, alignment delay, user presets and system lock. The subwoofer features a variable crossover and cardioid mode.

The titanium diaphragm compression drivers are housed in braced plywood cabinets. On the exterior, each DRM is covered in a touring-grade textured coating. The ported design of the DRM cabinets is said to provide a responsive bass while simultaneously helping to keep the amplifier cool. The loudspeakers are equipped with M10 flypoints, dual-angle pole mounts and line array configurations. Both the DRM212 and DRM215 feature angled cabinet designs to allow for use as high-powered floor monitors. Every DRM Series model is also available as a passive version. www.mackie.com

New L-Acoustics family L-ACOUSTICS HAS unveiled the Arcs A15 and A10 systems, and the companion KS21 sub. Inspired by the manufacturer’s X Series, the A15 Focus, A15 Wide, A10 Focus and A10 Wide, as well as the subwoofer, incorporate bended wood technology and are described as

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Lucy Lou, The Netherlands runs on AUDAC

Bright sound, effortless installation ATEO6

ATEO4

ATEO2

A15 Wide

CleverMount™

An industry standard for over 7 years The innovative CleverMount™ technology has the advantage that the ATEO loudspeaker cabinet flows together with the mounting bracket which offers great ease of installation and results in one good looking entity. Discover all custom solutions audac.eu/ateo

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Attach speaker

Choose the right angle

Optional: extra dimension with WMA bracket

lightweight and sturdy. Repor tedly achieving a throw of up to 45m and a maximum output of 144dB, the speakers can be mounted on a pole, stacked or flown in a ver tical or horizontal line source array. A15 and A10 systems incorporate configurable L-Fins to adjust waveguide directivity. They can be scaled to fit both large and small events, with the KS21, the company’s first

21-inch sub, extending the lowfrequency bandwidth to 30Hz. For larger events, Arcs can be used as a fill or delay solution and a complement to larger K1 and K2 systems. The A15 and A10 Focus and Wide enclosures were designed with LA4X capabilities and one-to-one ratios in mind. Each LA4X amp channel pairs with one A15, one A10 or one KS21. The one-to-one ratio extends to the A15 and KS21, where one sub is recommended for each A15 enclosure. For the A10, the recommended loudspeaker-tosub ratio is two-to-one. Arcs also functions with LA12X amplified controllers. The A15 Focus, A15 Wide, A10 Focus and A10 Wide are passive, two-way systems with a maximum SPL of 144dB, 141dB, 139dB and 137dB, respectively. The bandwidth for the A15 Focus is 41Hz to 20kHz; for the A15 Wide it’s 42Hz to 20kHz; and for the A10 Focus and A10 Wide it’s 65Hz to 20kHz. All four have 70°/110° symmetrical or 90° asymmetrical L-Fins. The KS21 is a bass-reflex sub with a maximum SPL of 138dB. The manufacturer has also announced updates to its Soundvision and LA Network Manager platforms. Soundvision 3.1.0 and LA Network Manager 2.7.0 feature advanced autosolver tools to improve system optimisation. The Soundvision update includes two new features to assist the system design process: Autosplay and Autofilter. www.l-acoustics.com

PRODUCTS

FBT brings Myra on tour excursion drive units with 3-inch long-excursion voice coils. The 214L cabinet is built inhouse by FBT, employing premium Baltic birch and tour-ready, weather-resistant polyurea coating to withstand life on the road. An integrated four-point rigging system allows up to 20 cabinets to be flown with a splay angle from 0° to 8° in 1° increments. Myra 214L FBT HAS debuted a new touring system, comprising the Myra 214L biamped mid/high line array speaker and the Myra 218S dual 18-inch reflex subwoofer. The 214L element houses a new coaxial 4-inch voice coil mid-frequency and 2.5-inch voice coil high-frequency driver pairing that FBT has developed in collaboration with B&C Speakers. This covers the 400Hz to 20kHz frequency range. The compression drivers’ combined output is loaded by a proprietary short path waveguide for low distortion and the ability to keep broadband directivity under control. An

Myra 218S extended frequency response to 42Hz negates the need for a flown subwoofer to accompany the Myra 214L in many applications, thanks to B&C 14-inch high-

The companion 218S subwoofer is packed with custom-designed, very long-excursion B&C drivers. It can be deployed in ground stacks or distributed cardioid sub arrays,

delivering low-frequency energy down to 30Hz. The 218S cabinet is also constructed from Baltic plywood coated in polyurea, while eight ergonomically placed rubbergripped aluminium bar handles and removable heavy-duty casters have been included in its design to make trucking and handling easier for engineers. In other news, the Italian manufacturer has unveiled its Infinito system management suite designed to provide ‘seamless operation and ease-of-use’ of all FBT active loudspeakers, matrix processors and processing power amplifiers. The suite uses TCP/IP protocol based on the AES70 Open Control Architecture standard and operates over Ethernet. More than 100 DSP devices can be connected on the same TCP/IP network, while the status of all connected devices and the control of individual device parameters are all available in real-time, reportedly giving the user instant and accurate user feedback via the touch-orientated graphical interface.

JMaxX 112A FBT has also unveiled JMAxX, a new line set to take over from the FBTMaxX series. The range comprises the JMaxX 110A, JMaxX 112A and JMAxX 114A two-way active loudspeakers with 10-, 12- and 14-inch LF woofers, respectively. www.fbt.it

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PRODUCTS

d&b orders a bite-sized sub D&B AUDIOTECHNIK is describing the new B8 ultracompact subwoofer as a bitesized sub with good reason. It stands at a height of just 170mm, while providing a lowfrequency extension down to 43Hz. While it can be flown as an accompaniment to small mid/ high d&b loudspeakers, the B8

can also be concealed in tight spaces beneath stages, stairs or ceilings, and works horizontally and vertically. Designed to pair with d&b’s xC-, xS- and E-Series loudspeakers, the B8 is available in two variants. The B8-Sub is intended for mobile and touring applications, while the Bi8-Sub

is built for fixed installations. With a pair of 6.5-inch drivers and ferrite magnets housed within a bass-reflex cabinet, the B8 subs achieve a low-frequency extension from 170Hz down to 43Hz. The subwoofers can be powered by all current d&b amplifiers for a maximum SPL of 122dB. It’s not just subwoofers that d&b is working to streamline though, as the German manufacturer has made its workflow more efficient with the launch of the ArrayCalc Exchange software. ArrayCalc Exchange converts CAD and EASE files into an ArrayCalc venue file (.dbacv) that can then be imported to the ArrayCalc simulation software.

HK Audio’s next Linear step LINEAR 7 is the latest family added to HK Audio’s Linear Series, which also includes Linear 3 and Linear 5. There are five members of the Linear 7 family on launch: four mid/high units and one subwoofer.

www.dbaudio.com

B8-Sub

PMC adds power and flexibility

The Linear 3 High Performance Pack

AIMED AT users working in stereo and surround formats, the IB2S-AII and IB2S XBD-AII feature a pair of 3U rack-mounted electronics per channel that contain DSP-controlled Class-D amplification delivering 2,025W for the single cabinet IB2S-AII and 3,225W for the IB2S XBD-AII twin cabinet version. According to PMC, the increase in power lowers distortion and increases base definition, attached and extended headroom. The electronics are housed off-board and all control of the monitors can be made via the RJ45 connect table-top remote. The three-way IB2S-AII master cabinet can be purchased as a speaker in its own right or together with the single-driver XBD bass cabinet to form the IB2S XBD-AII system. Both systems

The L7 110 XA is a 10-inch powered speaker, while the L7 112 XA and L7 112 FA are both 12-inch powered enclosures with multipurpose housing and full-range housing with clustering angles being the differences. Then there’s the 15-inch, active L7 115 FA and the L7 118 SUB A subwoofer. All five units are Milan-ready and feature PowerCon connections. Linear 7’s Ethernet-controlled DSP technology can be used to control existing Linear speakers using an integrated DSP out. The subwoofer offers several cardioid presets, selected via a button on the enclosure. Meanwhile, HK Audio has released three new turnkey Linear 3 system packages, aimed at bands and DJs that wish to control their own live sound. The L3

feature PMC’s hand-built preparatory drivers – a 10-inch carbon-fibre/ Nomex piston, a 75mm fabric dome mid and a 34mm soft-dome tweeter in each cabinet. Both systems also feature proprietary Advanced Transmission Line bass-loading technology, user-adjustable HF and LF shelving filters, ±8dB input level trim and an AES3 digital input. The input sensitivity of the balanced analogue inputs can be adjusted from –4dB to +16dB. For larger rooms, the single-driver XBD bass cabinet incorporated into the IB2S XBD-AII adds +3dB of LF headroom to deliver a response down to 20Hz. Both cabinets can

The IB2S-AII system be mounted in a vertical or side-byside format. www.pmc-speakers.com

Celestion blows the Big Red Horn CELESTION HAS unveiled the Big Red Horn with the Axi2050 wideband axiperiodic compression driver. Constructed using a fibreglass compound and available in alternative colour options, the horn has been designed to optimise the Axi2050’s wide bandwidth performance. The Big Red Horn has a 2-inch throat exit with a 90° x 45° radiation pattern and cut-off frequency of 400Hz. As for the Axi2050, it is built to reproduce a maximum frequency range between 300Hz and 20kHz without the need for a midband

Compact Venue Pack is suited to bands performing at small venues, the High Performance Pack powers performances for up to 500 people and the L3 Bass Power Pack is for DJs playing bass-heavy music for crowds of up to 250.

Big Red Horn

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crossover. Rather than employ two separate diaphragms, the wideband axiperiodic compression driver uses a single annular titanium diaphragm that is large in diameter (175mm) and circumferentially axiperiodic. The diaphragm comprises several curved, axiperiodically symmetrical elements, adding strength to what is a light, thin titanium sheet. Due to its unique shape, mechanical vibration modes are tailor-made to not couple with the acoustic modes, which allows for the avoidance of resonance peaks, resulting in an uncoloured performance.

HK has also launched the first two units in its SI range: the P10i and P10j. These line source speakers each feature 10 3-inch drivers and are designed for installation in large rooms with long reverberation times and noisy indoor venues, as well as outdoor long-throw applications. The SI line has also been developed for use in voice alarm systems, for water and weather resistance, and is available in more than 30 different colours. Finally, the Cosmo C 6 speaker has debuted, built for venues where the front row of audience is close to the stage and the speakers need to be flown lower than 6m in height. This is because the C 6 combines a wide throw pattern and relatively low height. www.hkaudio.com

Also new is the CDX14-3040 neodymium magnet compression driver. This features a 1.4-inch exit and 3-inch voice coil. The edgewound coil copper clad aluminium voice coil reportedly delivers 75Wrms of power handling and has a sensitivity of 106.5dB from 500Hz to 20kHz. The CDX14-3040 is Celestion’s third large-format compression driver to include a 3-inch singlepiece titanium diaphragm and surround. CDX14-3040

www.celestion.com

EVID-S EVID C O M M E R C IAL LO U D S PEAK E R S THE MOST COMPLETE FAMILY IN COMMERCIAL AUDIO The EVI D (EV Innovative Design) family is the industryâ&#x20AC;&#x2122;s most complete family of commercial loudspeaker solutions, with acoustically and aesthetically matched surface-mount, ceiling-mount, pendant-mount and flush-mount models for spaces of every size and shape, indoors or outdoors. Learn more at www.electrovoice.com

LEARN MORE

For more information, contact us at +65 6571 2808 or apr.buildingtechnologies@bosch.com

PRODUCTS

Updates galore

True broadband pattern control EASTERN ACOUSTIC Works (EAW) has launched the KF810P installation line array, the latest model in the company’s KF800 series. The KF810P is a three-way system with high output and broadband pattern control. Designed for installed applications, it incorporates invisible wiring and concealed three-point rigging. A weatherrated option is also available for permanent installations in demanding environments. The KF810P integrates two high-powered, ported, 10-inch, low-frequency drivers with 3-inch voice coils; four 5-inch midrange drivers with 1.7-inch voice coils;

and two high-frequency drivers with 1.4-inch exits and 3-inch voice coils. The output of these sources unites through an integrated horn that occupies the forward face of the speaker enclosure, delivering up to 145dB SPL with pattern control down to 250Hz to cater to more challenging acoustic spaces. EAW’s Concentric Summation Array technology integrates the components within the horn so that multiple subsystems sum more coherently, without interruption to the high- or mid-frequency wavefronts.

YAMAHA HAS released a raft of updates to its systems and products. First is the DXRmkII series of powered loudspeakers which has been redesigned to include a bigger neodymium 1.75-inch HF driver that delivers 1–2dB higher SPL than the existing series. The DXR15mkII can now reach 134dB maximum SPL, with an LF response down to 49Hz, while the DXR12mkII can also produce 134dB SPL with LF down to 52Hz. The maximum SPL for the DXR10mkII is 132dB SPL, with 130dB SPL for the DXR8mkII. As with the original DXR series, Yamaha collaborated with Nexo on the updated range. Yamaha is now shipping the CS-700 SIP video sound collaboration system. Part of the manufacturer’s Video Sound Bar family, the CS-700 SIP model is reported to be the industry’s first video collaboration solution to integrate PBX and UC applications.

The DXRmkII series Users can bridge telephone calls and web conferences to achieve high-quality audio from all communication channels. The CS-700 SIP model introduces VoIP capability to the family, with built-in connections for VoIP and USB for UC applications. This permits organisations to support both types of communication from a single wall-mounted unit. TF Series V4.0 firmware adds a number of enhancements, including a Selected Channel View, scene fade time function for added scene management flexibility (particularly in theatrical applications), additional mute groups, expanded support for

www.eaw.com

Simplifying installation indoors and out BOSCH’S LB20 commercial loudspeakers have been designed for installation both indoors and outside. The 16 model variants – which include 4-, 5.25- and 8-inch two-way models, as well as a matching dual 10-inch subwoofer – also feature a wall-mount system

developed to simplify and save time during installation. Each LB20 model is built to withstand the elements, with IP54 certification for weather resistance and an IP65 weatherproof version available for the 5.25-inch LB20-PC60EW5D and LB20-PC60EW-5L

cabinets. They are also designed to keep a low aesthetic profile and are paintable for a custom look, to blend into their surroundings. The wall-mount system, meanwhile, has been created to make life easier for installers. The wall-mount is attached by

making use of the built-in bubble level, the cables terminated inside, the paint cover applied to protect the wall-mount, then the pre-wired speaker with adjustable arm slides onto the wall-mount and locks into place. www.boschsecurity.com

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CS-700 SIP

DZR-D and DXS-XLF-D series speakers and a selection of new QuickPro Presets for a variety of microphones, in-ear monitors and speakers. The TF StageMix iPad app has also been updated, allowing control of playback from any recording to a USB storage device connected to the mixer. The TF StageMix update also adds User Defined Button functionality to the iPad, and is said to provide enhanced remote-control versatility. Rivage V3.0 adds the new DaNSe dynamic noise suppressor plug-in, bringing improvements to speech clarity for theatrical and broadcast applications. Other enhancements include Mix to Input routing and workflows for global paste, DCA assignment and Custom Faders. CL and QL series mixers have also received a V5.1 firmware update that supports the Danteequipped DZR-D series powered loudspeakers, and the Nexo NXAMPmk2. MTX/MRX matrix processors have also been updated to V3.31. www.yamaha.com

Ayra goes pro RCF HAS launched the new Ayra Pro range of nearfield studio monitors, replacing the previous Ayra family. Four models form the Ayra Pro catalogue initially: three two-way speakers – the full-range Pro5, Pro6 and Pro8 (5-, 6- and 8-inch models, respectively) – and the Pro10Sub 10-inch subwoofer. As well as being used for professional stereo or multichannel systems, the Ayra Pro solutions can be put to work in high-end AV systems or hi-fi setups. All four Ayra Pro models include Class-D amplification. The Pro5 boasts 100W of power, while the Pro6 offers 120W, the Pro8 is 140W and the subwoofer is 300W. They each possess on-board DSP

Ayra Pro6 and a FiRPHASE algorithm as standard, ensuring 0° linear phase for time-aligned sound emission covering the full spectrum. The

Italian manufacturer states that this feature provides ‘greater detail in the reference sound, with a real panorama of the stereo soundfield, where the phantom centre is perfectly perceivable’. RCF has also issued RDNet Release 3.1. This update brings four new features to the software: a prediction tool integrated completely into the network controller; global definition and adjustment of humidity and temperature; a bass shaper for tuning and correcting low frequencies; and a freely adjustable high-pass in the bass shaper. www.rcf.it

PRODUCTS

Work Pro widens SoundNut range THE SOUNDNUT range of pendant speakers has new members: the SN-3, SN-6 and SN-10, which feature 3-, 6- and 10-inch drivers respectively, and the SN-8Sub, an 8-inch subwoofer for low-frequency enhancement. All use the same basic design concept as the first family member, the SN-8. Users can choose variations in colour and texture on the upper part of the speaker and the main part of the speaker is available in black or white. A built-in transformer means the speakers can be driven via lowimpedance and high-impedance (70V/100V) connections. The coverage pattern is 90°, apart from the SN-8Sub which is omnidirectional. Also new to the Work Pro catalogue are the WSF 500 CX and WSF 10 CX Plus passive two-way, full-range projector speakers. At 1,000W and 300W respectively, the WFS 500 CX and 10 CX Plus both incorporate horn-loaded 10-inch diameter transducers and 2.5-inch voice coils in a bass-reflex enclosure. The high frequencies are reproduced by a 1-inch exit compression driver, a 1.75-inch voice coil and an 80° x 60° (HxV) horn to reportedly deliver consistent coverage across the entire vocal range. Both speakers are enclosed in black or white weather-resistant fibreglass and incorporate an aluminium grille covered in a protective water-repellent fabric. The 500 CX is a low-impedance speaker, while the 10 CX Plus is available with either low or high impedance and includes a 120Wrms at 100V line transformer.

PA 8150

The SoundNut series Two Dante gateways – the DD2 and DD4 – have also been added

to the Equipson portfolio. The two-input/two-output DD2 and four-

Finally, LightShark has been updated to version 1.1.2. New features include the ability to delete a fixture even when it is used in a cue; the ability to lock the executor’s window; the addition of a new Show info window; and the addition of a new folder where Show demo files can be stored for training purposes. www.workpro.es

Engage | EVERYWHERE With Listen EVERYWHERE from Listen Technologies

Listen EVERYWHERE from Listen Technologies makes it simple, easy, and cost eﬀective to oﬀer assistive listening, language interpretation, and TV audio delivery to guest’s smart phones via a free customizable app.

DD2 The PA 8150 is a Class-D amplifier that offers LED indicators and independent volume control on each of its eight channels, making it suited to installations such as restaurants and venues where audio needs to be individually controlled in different spaces. Delivering up to 150W per channel and a total power output of 1,040W, the low-impedance PA 8150 has several protections such as short circuit, thermal, ultrasonic and RF, and fits into a 1U 19-inch rack.

input/four-output DD4 allow for the extraction of analogue audio signals from the Dante network, as well as the introduction of analogue channels within the same network. Both devices are configurable with Dante Controller, use Euroblock 3.5mm connectors and have balanced inputs and outputs to reportedly provide greater immunity to noise that interferes with audio signal lines.

• Aﬀordable plug & play solution • Low latency • Uses existing wireless network

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PRODUCTS

All-in-one sound THE Z SERIES is a new loudspeaker range from AtlasIED intended as an all-in-one soundmasking solution capable of providing speech privacy, highdefinition background music and paging functionality. The series consists of a four-zone (Z4) or twozone (Z2) high-definition acoustical system and a wireless-enhanced speech privacy activation sign. Both the Z4 and Z2 include integrated pink and white noise generators for sound masking, as well as mic-line input for paging/BGM and a Bluetooth receiver for wireless music transmission. Stated to be ideal for healthcare and office environments, the Z Series models also boast simple installation with a clean and aesthetically pleasing design. Models can be mounted in-wall, on-wall or in a rack. Once installed, all hardware and wiring are centrally located behind the secure front

COMBINING 10 loudspeakers and two subwoofers – including ceiling-mounted, surface-mounted and outdoor-rated options – the DesignMax loudspeaker series has been created for use in commercial spaces. Ranging from 2-inch lowprofile models to 8-inch high SPL loudspeakers, the surface-mount

is pushed into the ceiling opening to hold the loudspeaker as the installer completes the task. Consisting of five power amplifiers with varying power levels and DSP options, the PowerSpace amplifiers have been designed to operate seamlessly with other Bose Professional loudspeakers,

panel, making it convenient for post-installation service. The frontpanel display allows for system programming as well as end-user control. In addition to the Z Series, the manufacturer has unveiled the Strategically Hidden Speaker (SHS). Said to be the result of years of development, the SHS Series reportedly blends superior sound quality with a design that enables it to ‘virtually disappear into the ceiling’. This is achieved via Adaptive Dispersion Lens

SHS Series Technology, a new, patented waveguide form that means only a 3-inch diameter lens and a micro trim ring are visible on the ceiling. This dispersion lens can also be painted or replaced with material to match the ceiling. The speaker has a two-way driver. Sound exits the transducer and passes through the patented adaptive dispersion lens to create a ‘smooth and uniform’ frequency

response with no hotspots. It uses an integrated 32W 70V/100V transformer with a sealed enclosure above the ceiling for optimal bass response, and ultra-wide 180° dispersion. The SHS Series speakers include three dispersive lens configurations for enhanced flexibility and functionality in any room, regardless of ceiling height. For hard-to-match environments, the manufacturer’s DesignLab custom

print process uses an accurate UVprinter to replicate colours, textures and patterns, enabling the SHS to blend into any environment. Finally, the manufacturer has also introduced third-generation IPX Series IP Endpoints tailored towards the educational and healthcare markets and able to provide notification through audio and video messaging. The series is said to be the ideal solution for expanding VoIP or SIP communications systems, by integrating endpoints to offer greater coverage than traditional handset-based systems. It also delivers smarter automation, including pre-programmed notifications for common functions like bells and critical alerts, through a Unified Communications environment or the manufacturer’s GLOBALCOM.IP ecosystem. www.atlasied.com

Bose Professional designs to the max Fohhn goes on tour

DesignMax enclosures incorporate minimum bezel grilles, removable logos and aesthetic styling, allowing them to blend with the interior décor. The paintable cabinets are finished in black or white and include hidden U-brackets, allowing them to be installed closer to the wall. Enhancing speed of installation, QuickHold mounting mechanisms can adjust the pitch and lock the cabinet in place without using tools. Ceiling-mounted models include Euroblock connectors, plenumrated back cans, tile bridges and front-access audio wiring. For these, QuickHold mounting arms spring into place when the loudspeaker

processors and control devices. Ideal for zone-expansion applications, the P21000A, P2600A and P4300A models (2x1,000W, 2x604W and 2x300W, respectively)

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PowerSpace

integrate a Bose AmpLink input. This input provides multiple channels of uncompressed, lowlatency digital audio from Bose digital sound processors. Versatile outputs are capable of delivering full channel power to either low- or high-impedance loads – without bridging – or double power to a single zone if required. The 1U height P4300+ and P4150+ models (4x300W and 4x150W) come with built-in DSP. Bose has also expanded its line of PowerShare amps with two Dante-integrated models (PS404D and PS604D) and two models with AmpLink connectivity (PS404A and PS604A). AmpLink is Bose’s in-rack Cat-5/6 digital audio distribution solution. The PS404D (400W divisible into four channels) and PS604D (600W divisible into four channels) feature Dante audio networking, giving installers the freedom to place the amplifier away from the source. The Dante models also allow mixed inputs using either digital or on-board analogue audio connections. www.pro.bose.com

FOHHN HAS introduced a number of new additions to its concert sound speaker portfolio and developed its own in-house acoustic simulation software as well. The German manufacturer’s modular beam-steering solution for concert sound applications, Focus Venue, has been treated to a full set of touring accessories. In addition to a transport dolly and matching covers for several speaker modules, a new rain cover, a connection panel rain cover and a flying frame with 1,300kg load capacity are now available, while Fohhn’s PT-70 plug-and-play system also has new accessories in the form of a wheel board and a double case with separately removable covers and a large interior.

The Fohhn Designer simulation software is a web-based application that enables precise simulations for all Fohhn systems, taking the room acoustics into account. The simulator is said to deliver speedy results for all kinds of sound reinforcement, whether in arenas or concert halls. Moving away from speakers, Fohhn has also introduced the MA-4.100 Media DSP matrix amplifier, which features an integrated 4x4 matrix specially developed for media applications and small-scale sound reinforcement. It is equipped with four switchable analogue mic/ line inputs. www.fohhn.com

PRODUCTS

Faital goes large EXHIBITING A sensitivity of 93–95dB SPL, FaitalPro has extended its XL ‘Xtra Large’ series with the addition of the 12XL1200 and 15XL1200 woofers. The 12and 15-inch models are designed with an efficient venting system that promotes their use in compact, highpower subwoofer cabinets. While the 12XL1200 can operate within an enclosure volume of 25–27 litres, the 15XL1200 can operate in less than 50 litres. The neodymium magnet assembly creates high flux concentration, low power compression and notable heat dissipation, resulting in high levels of force factor and power handling capable of withstanding signals up to 1,400W AES power. The 100mm voice coil has been created to improve force transmission and thermal power handling. Positioned in the magnet circuit, the aluminium demodulating ring provides a further flux modulation reduction to minimise overall distortions when driven hard. Manufactured from a high-strength paper pulp, the curvilinear, waterproof-treated cones are designed to achieve the optimal linearity within their frequency range, while the cone surround made from a linen material has been designed to resist ageing and fatigue. Designed for use in reflex direct radiation speakers with

12XL1200

15XL1200

18FX600 large cross-section tuning ports, bandpass configuration or folded transmission lines, FaitalPro has launched three new cone speakers in the FX600 series. The 12FX600, 15FX600 and 18FX600 woofers are dedicated to the reproduction of the lower frequencies with measured sensitivities of 97dB, 98dB and 99dB, respectively. With 700W of continuous AES power, the 12-, 15- and 18-inch woofers share a neodymium ring magnet assembly

and an aluminium demodulation ring that is designed to work with a specific 3-inch copper ribbon wire voice coil. The magnet circuit incorporates a single external demodulation ring to improve flux modulation reduction and provide very low-level distortion when driven at high power levels. The 3-inch copper ribbon wire voice coil provides a higher density in the assembly resulting in improved motor strength, making them suitable for low-

12FX600 frequency reproduction in woofer and subwoofer configurations. Responding best to horn-loading enclosures with crossover settings up to 1/1.2kHz, the 12FX600 can be designed as an integral part of a two-way cabinet or three-way line array module. Outputting within a 700Hz to 20kHz frequency spectrum, the HF1440 is a new 1.4-inch compression driver that can be used as a high-power driver in any traditional application including

two-way systems. Currently the largest voice coil in the FaitalPro catalogue, the neodymium magnet circuit uses a 3.4-inch coil with a ketone polymer diaphragm and can withstand up to 120W AES power. With a recorded efficiency of 109dB SPL, the HF1440 is designed to operate at a minimum crossover frequency of 700Hz. This allows it to extend to low frequencies where its performance can be readily matched with a woofer, promoting its use in either two-way configurations or a three-way system with a midrange. The magnet assembly comprises neodymium with an innovative geometry that reportedly guarantees a high induction or flux density in the air gap at 2.2 Tesla. The 1.4-inch throat assembly can be paired to a LTH142 horn or WG141 waveguide. www.faitalpro.com

HF1440

B&C follows market trend

KV2 goes ultra-compact

WITH A growing demand for coaxial transducers, B&C has added the DCX464 ring radiator to its catalogue. Comprising a neodymium magnet assembly, the DCX464’s midrange diaphragm operates within a 300Hz to 5.5kHz frequency range with 110dB sensitivity, for which its 100mm voice coil handles 220W. The 64mm coil high-frequency diaphragm operates within a 3–18kHz range with 112.5dB sensitivity and

KV2 HAS devised its most compact loudspeaker to date with the ESD Cube. The passive 5-inch loudspeaker adopts a trans-coil design for deepened vocal reproduction, extended high-frequency response and lower distortion.

handles 160W. Ensuring greater combined output and crossover flexibility, a patent-pending midrange integrator allows both diaphragms to work together over a wide bandwidth. The resultant energy emitting from the time-coherent coaxial ring radiator is output from the horn’s 1.4-inch diameter throat. The recommended crossover of the 3.7kg coaxial is 3.2kHz. DCX464 www.bcspeakers.com

TiMax SoundHub evolves OUT BOARD has updated its TiMax immersive audio and show control systems. TiMax HardCore FGPA is a new DSP engine for the TiMax SoundHub platform that adds extended delay matrix memory and ultra-smooth dynamic delay morphing algorithms to create, according to the manufacturer, ‘totally transparent, real-time localisation’.

Also new is the TiMax TrackerD4, described by Out Board as af fordable, dependable and por table. The manufacturer has developed the D4 to address a current price/per formance gap in the market with a product that it believes enhances levels of speed and precision and increases ROI across a wide

64 PRO AVL ASIA July–August 2019

variety of applications. With vocal localisation processes integrated within the TiMax SoundHub software via OSC control, Out Board repor ts that the D4 ‘opens up the reality of cost-ef fective lighting and multimedia stagetracking control’. www.outboard.co.uk

The trans-coil AIC (Active Impedance Control) technology, already deployed in a number of KV2’s products, has been upgraded in the Cube to improve phase response and range. According to the manufacturer, the ESD Cube may be used as a standalone system with up to eight Cubes powered by a single

ESP1000 amplifier or with the ESD1.10 single 10-inch passive subwoofer for applications requiring more low-end reinforcement. One ESP1000 amplifier will run up to four Cubes and two ESD1.10s. A proprietary flying bracket completes the system for a low-profile look and more convenient installation. Housed in a durable aluminium enclosure with a wear-resistant polymer coating, the ESD Cube comes in any RAL colour, making it suitable for applications requiring discreet, high-quality peripheral and/or distributed sound reinforcement such as bars, hotels, houses of worship, museums, tourist attractions and corporate venues. The speaker delivers 116dB sustained output (119dB peak) in addition to a wide dispersion (80° x 80°). The dense yet light enclosure design also makes the speaker appropriate for use in ceiling-mount, front-fill, in-fill or under-balcony applications. www.kv2audio.com

Your Performance. Focused. Only Renkus-Heinz has the tools necessary to place sound precisely where itâ&#x20AC;&#x2122;s needed most, delivering the intelligibility, clarity and power your audience demands without the wash and reflections of traditional loudspeaker systems. The ICL-X Series by Renkus-Heinz helps you overcome the most challenging production hurdles with minimal setup time. From community theater to national touring companies, Renkus-Heinz brings sonic control center stage. We focus the sound, so you can focus on the performance.

www.renkus-heinz.com

PRODUCTS

Antelope goes over the edge ANTELOPE AUDIO has added to its Edge range of microphones with Edge Go. The manufacturer describes Edge Go as ‘the world’s first USB-powered modelling microphone’, built, as the name suggests, for use on the go. The circuit-level mic comes with gear emulations on board the real-time FPGA FX platform to create a ‘studio sound’ on location. Edge Go connects via USB-C and is equipped with a 3.5mm headphone jack to allow realtime monitoring. Several high-end condenser mic models are available, as is a selection of vintage compressor and EQ effects, along with built-in de-essing, gating/expansion, tape saturation and reverb, all of which can be controlled by an app for PC or Mac. It also features switchable polar patterns, including cardioid, figure of eight and omnidirectional, high-end A/D conversion (24-bit/192kHz),

a full frequency response between 20Hz and 20kHz, and a range of presets developed by some of the world’s top studio professionals. Antelope has also launched the third generation of Orion32+. It brings the same connectivity and channel counts as the original Orion32+, while adding elevated operating levels (+24dBu max), upgraded AD/DA conversion and a custom Thunderbolt driver for Windows. It is available with a selection of real-time, FPGA-powered effects from the Antelope Audio collection. Edge Go

www.antelopeaudio.com

Orion 32+

TwinPlex takes the stage A NEW line of premium subminiature 5mm omnidirectional lavalier and headset microphones has been released by Shure. Designed to stand up to tougher conditions, TwinPlex provides ‘natural audio’ at both high and low frequency when professional vocal performance is required. The

TL45

patent-pending capsule technology is suited for quick costume changes and discreet placement for the diverse needs of theatre, broadcast, film and television and corporate presentations. TwinPlex consists of four lavaliers – the TL45, TL46, TL47 and TL48 – and an ‘ultra-light’, adjustable headset microphone – the TH53 – and is available in multiple colours. A dual-diaphragm omnidirectional design claims to yield ‘off-axis consistency and low self-noise’. Available in 1.1mm and 1.6mm options, the paintable cables with redundant shielding are also said to be immune to memory effects, resulting in more flexible performance use. TwinPlex is also fitted with a superhydrophobic

TL46 coating and interchangeable sweatresistant frequency caps. For broadcasters, Shure has also released its AxientDigital ADX wireless transmitters. The ADX series includes the ADX1 and ADX2 bodypack and handheld transmitters, ADX2FD frequency diversity handheld and ADX1M, claiming to be ‘the first micro bodypack with an internal self-tuning

Sweet high ends THE BLAZE 990 from MXL Microphones is said to retain the ‘silky sweet high ends and solid lows and midrange’ of the manufacturer’s original 990 microphones. With a black metal exterior and red LED lights within the grill, the Blaze 990 gives users the ability to produce a clear, smooth sound for stringed instruments, acoustic guitars, drums and electric amplifiers. It can also be used for live streaming purposes and is described by the manufacturer as an ideal solution for podcasters looking to take their sound

quality to the next level. It uses a wide frequency response to complement vocalists from any genre and incorporates a six-micron, gold-sputtered, large diaphragm with a 15mV/Pa sensitivity. It has a cardioid polar pattern and a frequency range of 30Hz to 20kHz, with a slight increase in the upper register around 8kHz. The Blaze 990 requires phantom power for operation and comes with an included shock-mount and hard-mount mic stand adapter.

Overhead sound DESIGNED FOR both drop tile ceilings and open ceiling environments, the CeilingMic from Vaddio has been developed to deliver professional audio quality for conferencing applications. Each CeilingMic unit is designed with three microphone elements encased in a single pendant hanging enclosure, providing a 360° pickup coverage with integrated acoustic echo cancellation (AEC) and digital signal processing (DSP). The DSP interface box provides AEC reference from the far end and applies it to individual mic elements so conference calls are described as clear on both ends of the conversation. The threeelement array head also has an LED mute status indicator. Installation involves connecting a Cat-5 cable between the EasyMic port and the CeilingMic interface box. Power, control and audio are incorporated into a single cable.

antenna’. The ShowLink-enabled transmitters offer real-time remote control plus automatic interference detection and avoidance, and are compatible with the Axient Digital receiver platform, Quadiversity, to provide high-performance RF, improved audio quality, command and control and hardware scalability. Quadversity mode enables users to place sets of diversity antennas in different zones

www.vaddio.com

or double the number of antennas in a single zone, to improve the signal-to-noise ratio. A high-density mode can also increase the maximum simultaneous system channel count from 17 to 47 per 6MHz TV band (from 23 to 63 per 8MHz TV band). For more information on TwinPlex, see our R&D feature on page 128. www.shure.com

The ADX series

TG 500’s metal cover BEYERDYNAMIC HAS been exploring ways to further improve upon its TG 500 wireless microphone family. The latest update sees new, metal housings for the range’s handheld mics, the TG 500H-C and TG 500H-D.

The sonic qualities of both the TG 500H-D dynamic and TG 500H-C condenser capsule models are said to remain unaffected by the new shafts, which replace the previous plastic models. The introduction of solid metal, beyerdynamic states, provides increased durability in touring applications.

www.mxlmics.com

TG 500H-C

66 PRO AVL ASIA July–August 2019

The CeilingMic reportedly supports lengths of up to 30.5m of Cat-5 cable between its interface box and EasyMic ports. The CeilingMic pendant includes a 36-inch adjustable drop cable. With a standard RJ45 jack connection, the pendant can be extended to 5m from the interface box with a Cat-5 cable. One CeilingMic is designed for 5–7 participants; for larger events, a second CeilingMic is recommended for additional coverage.

www.beyerdynamic.com

PRODUCTS

FEATURES: INSTALLATION NEWS: PROJECTS

Eliminatingbrews latency up a solution for Singha Mahajak TASCAM HAS unveiled its Series THAILAND: Boon Rawd Brewery, built-in digital reverb, compressor, 102i audio/MIDI interface renowned for its flagship beerfor phase invert and four-band EQ owners of small studios, and its Singha, has moved to a new for each channel with the aim of Series 208i premium workaudio/MIDI space in theinterface heart of eliminating latency issues and for professional studiocalled and on livethe Bangkok. The brewery taking the load off the computer to recording. 102itoprovides upnew allow it to process the audio more services of The Mahajak equip the to 10 audio audio space with a inputs range ofand AV two solutions, efficiently. The analogue mic/line/ outputs and the the 208i 20 audio having employed systems instrument combo inputs are fitted inputs andforeight audio project. outputs to integrator a previous with the manufacturer’s low-noise, was responsible a‘Mahajak Mac or Windows computerfor or the ultra-HDDA mic preamps and installation of audio, visual and an iOS device, for recording and individually switchable phantom control systems 48 rooms bits. of playback at up tofor 192kHz/24 power (+48V). The 102i also offers 12 different types,’isrevealed the The USB interface equipped with dual headphone outputs with Mahajak project a DSP input and team. output‘Mahajak mixer with dedicated level control and two also installed LED displays in the balanced 6.3mm line canteen and directory signs in the Mahajak also deployed a large, outputs for versatile lobby.’ 8.25m x 2.25m UniviewThe LED monitoring. 208i The screens in the canteen, screen on the wall beside the includes eight balanced of which there are 20, are all stairs in the6.3mm building’s line indoor outputs to Constructed in 1893, Waverton is a heritage-listed building Samsung Smart Signage SHF station garden zone, along with four JBL 37-inch stretch screens. Serving 28-1 speakers powered by a Series 102i as directory displays in the lobby Crown XLS 1502 amplifier. are two Samsung Smart Signage ‘The customer expected to get an DM75E commercial LED screens. up-to-date and smart system that is

PoE+ or external 12V DC and HDMI collaboration systems, KanexPro in/out with audio embedding and transmitters and receivers, Epson de-embedding, the devicesRazr support and Panasonic projectors, bidirectional AV operations, live projection screens, and Sharp online streaming secureCrown LED screens, JBL and speakers capture to SD/USB media for later amplification, BSS processing, uploading a website. Soundcrafttomixing and Shure Finally, the MX-8A is an 8x8 microphones. audio matrixroom mixer with embedded The board also benefits DSP. It provides eight mic/ from Barco’s ClickShare CSE-200 line inputs, eight line system, outputs wireless presentation and stereo I/O compatible as does theUSB ballroom and town with software/cloud-based hall venue. JBL speakers, LG and conferencing platforms. DSP Samsung screens, and Barco upload of recorded files to a functions compressor, ClickShareprovide devicesacan also be enable multiple monitor mixes or four-band parametric and found in the executive EQ lounge, easy use, and good after salesand network or cloud storage. The up toto 7.1 surround monitoring, streamers support CDNs and auto for each dininglevel roomcontrol and living room.input. service fordual theirheadphone meeting rooms,’ there are outputs online live platforms such as The output section features ‘This was one of our largest a said dedicated a Mahajak level project engineer. with control. YouTube, Wowza, Ustream, 10-band EQ, high/low pass filter projects to date,’ said the ‘They required in the Described asautomation next-generation The meeting rooms, which can EDC Acoustics SC-30orspeakers provide along the platform AWS Elemental MediaLive and intelligibility delay and a limiter function per Mahajak team. ‘It was completed conference room that would control streamers, the VS-R264 and be separated combined, have VS-R265 4K/HD video AWS The devices output. The MX-8A incorporates successfully and handed over to the the audio,are visual and air-conditioning been CloudFront. equipped with a vast range encoding, streaming, provide fully balanced I/O the manufacturer’s mic preamps, customer.’ systems, as well as therecording motorised of technology, including audio Crestron and decoding bidirectional Euroblock connectors, with while the input range covers curtains. Moreover, the clientdevices via control solutions, AMX ACR-5100 www.mahajak.com that support HEVC/H.265 configurable reference levels for from –77.5dBu to +26dBu, with required an audio and video and system Acendo Core meeting space, H.264. They have a compact 1U compatibility with professional equivalent input noise achieving size and can be rack-mounted or audio systems. Unbalanced less than –126dB, and a signal-toscrewed under a desk. Features 3.5mm stereo mini-jacks are also noise ratio of over 108dB. include live streaming via the provided for compatibility with www.tascam.com internet, plus automatic FTP consumer devices. With power via that suited seminars and events, whether the rooms were separated or combined to form a larger room. Furthermore, the system needed to be compatible with other audio and visual systems brought in from outside.’

Digital platform Next-proaudio pops up in Xi’an

A train station in suburban Sydney has a new digital Series 208i announcement system courtesy of tm stagetec systems. CHINA: A Next-proaudio system LAs418G enclosures per side Richard Lawn commutes in

Connect with Avid

managed by N-RAK touring racks of more than 120 speakers with Powersoft X8 amplifiers. stacked in front of the stage. WHEN THE DECISION WAS MADE TO REINSTATE STATION was issues supplied by distributor ‘The electronic music sound to solve the local at Waverton. The Real new digital A fur ther nine LA212x units announcements at Waverton, an eastern suburb of Sydney, Music at the recent editiontravellers, of ef fects were controlled announcement system needed to inform while at were used for out-fill, per side AVID HAS released theresonated Avid Link moreprojects Avid Link, such asthe plug-ins, fury from local residents than thewith local the One residents Yeah Pop go Up+ Festival fantastically and sound collaborators real- time theinsame letting about their liveswhile oblivious 12 wide angled LA122w app in Apple’s Store and on to Hornsby. video effects, training commuter trains App hurtling northwards Following a by forming in the Xi’an. Thetofestival combines pressure with product the LA212x time, or seek advice to the fact that 08.11 Parramatta was aboutspeakers to delivered front-fill. Google Play. is designed or other Theamazing, app can deal struck withThe theapp transport authoritiesmentorships in 2010, thewithin doubleelectronic music and rap with line arraysoftware. was really the network. depart from platform one. Another three LA122w boxes to allow industry professionals be opened Pro Tools, glazed locals had been spared regular announcements at Talent, a traditional allowing allthrough the audience By selecting Find users ‘Previous tenders for ourChinese digital PAmusic system centredand around an LAs118 were mounted to network onecommonly another, stop every Media and Sibelius, station wherewith trains two minutes. They ofrequired andintelligibility other events, such as to haveComposer a fantastic music can search the profiles other speech for passengers,’ explains on tm both sides of the stage as promote their skillshorrified to potential and accessedsaid withRichie Avid Master were understandably at the prospect ofmusicians, living with up streetball. experience,’ Wang, artists, composers, stagetec systems MD, Treva Head. ‘However, Waverton side-fills. In addition, 16 X15 and manage each projects, Account information. toemployers, 2,000 announcements day. The sound setupapproach, comprised CEO at Real Music. video editors, producers required and a much more sensitive with the point emphasis source speakers were products and workflows. Users Having perfected a bespoke audio over IP solutionProducts for 15environmental flown LA212xpollution cabinets per of the filmmakers. andplaced services more on control Digital used as stage monitors. The www.avid.com www.next-proaudio.com can share andwithin discuss some 300+ ideas stations the Sydney can Trains and side and[DVAs] 18 ground stacked also beNSW purchased within Voice Announcements including ambient noise control, entire setup was powered and TrainLink network, tm stagetec systems was challenged directional speaker design and time of day switching.’ tm stagetec’s Mark Lownds and Treva Head

1/3 PAGE

102 PRO AVL ASIA Januar y–Februar y 2019 36 PRO AVL ASIA May–June 2019

PRODUCTS

Meyer announces redesign MEYER SOUND has completed a redesign of its point source loudspeakers and unveiled Ultra-X40, a new series that features a concentric driver configuration with dual 8-inch neodymium magnet cone drivers coupled to a low–mid waveguide surrounding the single 3-inch diaphragm high-frequency compression driver. The 110° x 50° Constant-Q HF horn is field rotatable and reportedly ensures a uniform bandwidth coverage pattern in both horizontal or vertical orientation. The Ultra-X40 also incorporates a three-channel, Class-D amplifier that produces a total peak output power of 1,950W and a low power consumption.

GATESAIR HAS announced that its new FMXi 4g is the industry’s first embedded HD radio infrastructure solution able to provide dynamic time and audio correction between analogue (FM) and digital (HD radio) signals. The manufacturer’s algorithm reportedly ensures proper time alignment between the two, improving the experience for the listener in areas where digital signals fade, delivers programme

‘It’s vital to have an accurate and consistently repeatable way to measure the linear peak SPL of a loudspeaker when reproducing music,’ said vice president and chief loudspeaker designer, Pablo Espinosa. ‘Pink noise may get you in the ballpark but you could still be off by 6dB or more when you switch to music programme. However, if you measure your maximum level using M-Noise, you will know for certain your real-world limit for sustained, linear and full-bandwidth music reproduction.’ Meyer Sound has also added two further products to its catalogue:

the MPS-482HP and the UPQ-D3. The MPS-482HP is a two-channel, half rack-space power supply with audio and 48V DC and can be used to expand the flexibility and cost-effectiveness of Meyer Sound’s IntelligentDC remotely self-powered systems. The UPQ-D3 from Meyer Sound will become the third member of the UPQ series and incorporates a new Class-D amplifier module and an 80° x 80° coverage option. The company has also redesigned the UPQ-D1 and UPQ-D2 cabinets and reduced their weight by 12%.

Ultra-X40

Preliminary performance specifications include an operating frequency range of 60Hz to 18kHz, with linear peak SPL of 130.5dB measured with M-Noise, free-field at 4m and referred to 1m. M-Noise has been developed following extensive spectral analysis of the varying crest factors in music and how these measurements compare to pink noise. It is a test signal that will provide standardised measurement of a loudspeaker system’s maximum linear output. M-Noise can reportedly be used to determine the linear peak SPL of any loudspeaker system, regardless of manufacturer, size or design.

linearity and automatically removes objectionable blending artefacts. Built-in software intelligence aligns the time, levels and phase of the audio. Flexiva FMXi 4g is available in three configurations: as a combined exporter/importer unit or as separate importer and exporter systems. As an IT-based solution, it removes the need for maintenance of older

hardware-based components while integrating HD radio diversity delay. ‘The removal of a standalone, computer-based exporter or importer eliminates the boot-up process and troublesome moving

parts, and frees broadcasters from maintaining PC-based solutions,’ said GatesAir’s Ted Lantz. ‘HD radio implementation is simplified by eliminating complex configuration setups, along with having the Artist

Experience integrated within the platform. These benefits are shared regardless of which of the three FMXi 4g configurations the customer chooses to deploy.’

Embedded HD radio

BroaMan gets back on Route 66 BROADCAST SYSTEMS manufacturer BroaMan has launched a standard version of its Route66 configurable router series for customised video/audio designs. The latest fifth version is targeted for simpler, cost-effective

standard cable management usage, specifically for the AV market and AV-friendly data centres and server rooms. The new 2U design makes Route66 applicable to standard smart fibre patchbay applications. This smart patchbay allows routing of fibre/copper cables by software instead of a manual patch, enabling automated IP workflows and remote cable management. It also allows fibre/ copper conversion without external devices. The Route66 platform provides single-channel, non-blocking

40x40 router ports, while the new standard version of Route66 offers 40 SFP+ slots for 40 hot-swappable bidirectional SFPs with each slot providing up to 4Gb per formance. It is ideal for a vast combination of signals, such

as Ethernet, fibre, up to 4K SDI, HDMI, Optocore and MADI. A wide range of fibre transceivers is also available. The Route66 family offers built-in redundant power supplies and claims to have a low power consumption of 10–40W, reportedly making the system more energy-efficient than other models that depend on external 120W PSUs. The models are also designed with an upgraded passive cooling system to replace noisy fans. www.broaman.com

68 PRO AVL ASIA July–August 2019

MPS-482HP

www.meyersound.com

www.gatesair.com

Calrec gets to the core BOASTING AES67 and SMPTE 2110 connectivity, Calrec Audio’s new ImPulse core is compatible with current Apollo and Artemis control surfaces and is therefore said to provide a simple upgrade path for existing customers. Additionally, future scalable expansion will reportedly allow up to four DSP mix engines and control systems to run independently on a single core at the same time, providing the ability to use multiple large-format mixers simultaneously. The ImPulse core provides 3D immersive path widths and panning for next-generation audio applications and has an integral AoIP router, which fully supports NMOS discovery and connection management, as well as mDNS/ Ravenna discovery. Modular I/O frames can be upgraded with a

VP2

ImPulse

new switchable controller card that allows them to sit on either a Hydra2 or IP network, with a future option to upgrade existing fixed format boxes. In addition to the new ImPulse core, the manufacturer recently showcased its VP2 virtualised mixing system. The device has no physical controls and uses Calrec’s Assist software for

set up and control. It’s a 4U solution incorporating the Hydra2 network and comes in three DSP size: 128, 180 and 240 input channels. The VP2 is said to offer many of the benefits of using a Calrec console without requiring a physical control sur face. www.calrec.com

PRODUCTS

Extron shares links SHARELINK PRO 1000 is described by Extron as a ‘wireless and wired collaboration gateway’. It allows users to beam content from computers, tablets and smartphones onto displays during meetings and conferences, supporting the display of up to four devices at once, including a wired, HDMI-connected device. The system dynamically updates the display layout as content is added and removed. When used in conjunction with Extron GVE (GlobalViewer Enterprise) software, multiple ShareLink Pro 1000 units can be managed across an entire facility. The system incorporates two modes: collaboration and

moderator. Collaboration mode keeps the environment open, allowing everyone to share content, while moderator mode keeps the presentation under the control of the person leading it. ShareLink Pro 1000 also enables full screen mirroring for devices such as PCs, Macs, tablets and smartphones. Extron has also been busy with the creation of the ECM S10, a transmitter and receiver partition sensor set developed for use with the manufacturer’s eBUSenabled control systems and other devices featuring a digital I/O port in rooms with moveable partition walls. It connects to an IPCP Pro control processor, using

an infrared beam to detect the position of a movable partition wall. Whether the partition is open or closed decides the relevant control system behaviours to be employed. ‘When used in a divisible room application with eBUS button panels, this discreet, easyto-install sensor set can save time and increase efficiency by automating any number of AV system behaviours,’ summarised Extron’s Casey Hall. The ECM S10 receiver features a digital output por t and a 14 VDC output to provide power to the transmitter. www.extron.com

Axon C1 promises basic audio control ATTERO TECH has designed its new Axon C1 single-gang networked controller to manage basic audio control applications, where ease-of-use for the perhaps non-technical user is required. It allows for volume control, zone source selection and preset recall. With an OLED display developed to be easy to read, and which displays a menu with intuitive navigation according to the manufacturer, the Axon C1 has a small form factor and is said to be easy to program. It suppor ts network control over both TCP/IP and UDP, and can be integrated with third-par ty solutions, as well as Attero Tech’s own. For instance, Attero Tech has developed a Q-Sys plug-in for integrating the C1 with QSC DSP processors. The Q-Sys plug-in not only facilitates control of zone volume, sources and presets,

but can synchronise multiple C1s that control the same zone. In addition, Attero Tech’s unIFY v3.3 configuration software allows users to set up and customise the C1 menus. The C1 itself possesses a single knob inter face as par t of its straightfor ward design. www.atterotech.com

Scalable solution ANUBIS IS described by Merging Technologies as a groundbreaking product that incorporates the manufacturer’s analogue and digital audio, networked audio and DSP/FPGA technologies. It is a monitor controller that controls the network; a music recording hub that allows users to network a whole band or orchestra; and a low-latency mixer and processor. Currently armed with two ‘missions’, further plug-ins will be released to aid users with their workflows. Monitor Mission provides monitoring of control

rooms, editing rooms, mastering rooms, location recording and OB vans, while Music Mission

is suited for music studios, recording studios, live concerts and onstage monitoring.

Anubis can also be expanded to work with any other Ravenna/ AES67 devices on the network. From the touchscreen, users are given access to I/Os from any other Merging device on the network plus the ability to connect the I/Os from any other compatible AES67 device. Pairing these devices is said to allow Anubis to extend its I/Os as if they were built in. With its internal DSP, Anubis can reportedly manage up to 256x256 signal paths. Anubis also integrates into existing ANEMAN controlled

ecosystems. It is compliant with ST2110 and ST2022. Anubis comes in two variants: Anubis Pro for up to 192kHz, while Anubis Premium offers up to 384kHz and DXD plus DSD flavours up to 256kHz. A 32-bit signal path from input to output via the mixer is said to decrease latency and improve power distribution. Every input has a separate split gain control for sending the inputs to different paths.

Redundancy is at the core of Artist-1024’s design. It supports several redundancy schemes, such as N+1, NIC and SMPTE 2022-7. All control logic and data links within the frame are redundant, with additional security provided by a pair of load-sharing PSUs and a fan module with redundant fan units. Ar tist-1024 is also available as par t of a new, flexible licensing scheme with frame-level licensing instead of connectivity-type licensing. Each node begins

with a Vir tual Ar tist Matrix (VAM) licence that includes a defined number of por ts, from 16 to 1,024. These can be freely distributed across the node’s subscriber cards. There are also

flexible licences that allow for a faster system reconfiguration by moving capacities between nodes.

www.merging.com

Artist’s expansion RIEDEL’S NEW Artist-1024 node is an expansion to the Artist intercom ecosystem that packs 1,024 nonblocking ports in a 2U frame and offers full SMPTE 2110-30/31 (AES67) compliance. Artist-1024 also introduces software-definable Universal Interface Cards (UIC) to handle networking, mixing and management, and can also serve as an AES67 or MADI subscriber card, or an Artist fibre, router or processor card. To change the connectivity type and reconfigure

the UIC, users can simply click the relevant button in the Director configuration software. Artist1024’s frame is equipped with 10 bays for UICs, two of which are reserved for exclusive use by routing and networking UICs. The integral mixer on each subscriber card can be scaled from eight ports per card to 128 and can access all of the Artist backbone’s 1,024 ports. Additionally, four expansion slots can be used for GPIO or synchronisation applications.

70 PRO AVL ASIA July–August 2019

www.riedel.net

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PRODUCTS

Overcoming signal loss THE ALP690 from Lectrosonics has been developed for use with wireless microphone receivers or base station transmitters on location and in studio production. It is a UHF LPDA (log periodic dipole array) antenna with a built-in RF amplifier and delivers +4dBd of passive gain in a directional pattern to extend the operating range. An RF amplifier can be used to supply gain for overcoming signal loss in long coaxial cable runs. The ALP690 antenna is powered by a DC bias inserted on the coaxial cable connected to the 50Ω BNC jack. A Venue Series receiver, an active multicoupler or an inline BIAS-T can supply the power. When no bias is applied, the ALP690 automatically switches via relays to function as a passive antenna. RF amplifier gain, filter bandwidth and display brightness are adjusted with a membrane switch keypad and LED display on the control panel. Depending on the type and length of the coax cable, RF gain is adjustable in 1dB steps from –6dB to +12dB to match the RF. Vertical orientation provides a wide horizontal coverage pattern.

Digigram adds to the discussion

ALP690

DCHT In other news, the manufacturer has unveiled the DCHT portable digital stereo transmitter for use in film and TV production as both a wireless audio link from a bag or cart system to cameras, or as a portable IFB transmitter paired with the Duet digital wireless M2R receiver packs. The DCHT accepts two channels of mic or line level

analogue signals or an AES digital signal from a mixer, and transmits to the receiver or receivers in a pure digital format. The DCHT can tune across the available UHF TV band from 470.100–607.950MHz (470.100– 614.375MHz for the export version) in 100kHz or 25kHz steps, offering more than 6,000 frequencies. The RF output can be set to 10mW, 25mW or 50mW to provide a flexible operating range. Input connections and settings are included for lavalier microphones, dynamic microphones and line level inputs. Input gain is adjustable over a 51dB range in 1dB steps to maximise the dynamic range and signal-to-noise ratio. www.lectrosonics.com

Just add Dante and AES67 to UHD transmission JUST ADD POWER (J+P) has launched the 767DSS, a 3G+ sound system transmitter with Dante and AES67 compatibility to connect audio networks to UHDover-IP systems, with separate switching for audio and video. The manufacturer states that the transmitter is the industry’s first such solution to support the latest Dante 8 channel chipset. The 767DSS enables the input of up to eight audio channels from the J+P system for playout on Dante-enabled and AES67 devices and extracts up to eight channels from an audio network for playout across the J+P system. The transmitter is also backwardscompatible with legacy two-channel Dante and AES67 devices, and offers bitrates of 176.4kHz and 192kHz with latency as low as 0.25ms via Gigabit Ethernet. Secondary connectivity is built in for redundancy. Meanwhile, the 726TVI transmitter adds HD-TVI support for 3G HD-over-IP systems, negating the need for a TVHDMI converter. It allows for the incorporation of a security camera

767DSS

or digital video recorder as a source. Also new is the VBS-HDIP-3G 509POE daisy-chain receiver which distributes Ultra HD and 4K video over a single Cat-5e cable without the need for fibre. Any PoE device can be connected with the on-board pass-through network port, while a network soundbar, IPTV control or a single display location can be expanded into a videowall. The receiver can also extend the number of PoE devices that can be added to the system by connecting a PoE switch to the port. Finally, J+P’s new Just OS family of firmware has been

72 PRO AVL ASIA July–August 2019

DIGIGRAM’S IQOYA Talk is a portable IP audio codec conceived for use in remote live operations that require reliable transmission and broadcastquality audio. Its user interface has been designed to replicate the experience of using a smartphone for intuitive use. Applications in which IQOYA Talk can be used include live reporting and commentary. The system facilitates key actions to be performed by reporters in just two clicks, keeping it simple to use. Audio content is then streamed through a large number of wired or wireless ‘last mile’ connections.

www.digigram.com

Next-generation monitoring TSL PRODUCTS has unveiled a new audio monitoring platform named SAM-Q, which allows users to control and visualise their audio content based on application, environment or personal preference. The manufacturer states the key features differentiating the platform from existing market solutions are its customisable configuration, the ability to lock down controls and the ability to expand capabilities via a licence system. The SAMQ-SDI is the first audio monitor

built from the ground up with the Representational State Transfer application programming inter face, which is widely used in IoT application development. Just OS features the company’s latest firmware update, which enables J+P’s Every Switch Suppor ted capabilities, developed to allow integrators to build any size 4K matrix on an existing network without having to change switches. It also brings together J+P’s Switch Please and PlugPlay-Present solutions under one umbrella. www.justaddpower.com

For studio and OB van applications, IQOYA Talk is available in a package with four rack-mountable audio IP codecs, or with Digigram’s multichannel audio IP codec. A smartphone app and accessories for mobility are also available, as is a web codec for connecting to guests around the world, while a suite of web applications enables engineers to control and manage an entire fleet of codecs. A secure infrastructure enables interconnectivity between all the IP codecs.

SAM-Q

to be announced for the SAM-Q audio platform and is designed for customers operating with SDI infrastructures. The manufacturer has also announced that its PAM-IP range now supports ST-2110. Both the PAM1-IP and PAM2-IP audio monitors can be deployed to monitor audio and video content carried as ST-2022-6 and/or ST-2110 (2110-10, -20, -30 and -40) flows. www.tslproducts.com

PRODUCTS

Dante supporting video AUDINATE’S DANTE AV Module supports one video channel and eight uncompressed bidirectional Dante audio channels. A videocapable extension to Audinate’s audio-over-IP ecosystem, the Dante AV Module is primarily aimed at manufacturers developing 1G video-over-IP products with Dante control, transport and synchronisation. Its architecture is codec-agnostic, so manufacturers have free rein. The Dante AV Product Design Suite, developed for use with the Dante AV Module, provides manufacturers with a full AV-overIP endpoint product design. The Dante AV Module is incorporated into the Product Design Suite and includes the hardware documents and software needed to create fully interoperable AV products and to

speed up the process of getting a new solution to market. intoPIX’s JPEG 2000 codec, which supports 4K/60 4:4:4 video, is

included in the Dante AV Product Design Suite, said to offer ‘visually lossless results with low latency over a 1Gbps network’. The design suite also prevents the copying of digital audio and video content as

it travels across connections by implementing HDCP (High-bandwidth Digital Content Protection). JPEG 2000 allows Dante AV to create 4K multi-screen environments, distributing audio where required, and deploy and manage videowalls using Cat-5e cables and switchers. It simplifies the installation and use of conference rooms that make use of both video and audio. ‘Although the Dante AV Module is designed to be codec-agnostic, we felt it was in the best interests of our OEM customers to have the codec already integrated as part of the Dante AV Product Design Suite,’ explained Lee Ellison, CEO of Audinate. www.audinate.com www.intopix.com

Multichannel Dante audio interfaces SONIFEX HAS released a series of new Dante audio interfaces to convert balanced analogue

while the AVN-A108 allows for eight analogue audio inputs and eight analogue audio outputs. Packaged

AVN-AIO4 and AVN-A108

audio line inputs and outputs to Dante AoIP for integrators and AV professionals. The AVN-A104 multichannel audio interface provides four analogue audio inputs and four analogue audio outputs,

in a 1U form factor, both interfaces use Neutrik XLR connectors, are compliant with Dante AES67 and use PoE for power. www.sonifex.co.uk

The sound of the 1970s DRAWMER HAS added two new products to its 1970s FET series. Offering one set of controls for both audio channels, the 1974 stereo parametric equaliser has four bands of EQ with variable low- and high-cut filters to tune out any unwanted signals and

on very narrow sections of the audio spectrum, apply a broad, natural-sounding filter or modify fine-tuning mixes to problematic recordings. The EQ features a true hardware bypass for more accurate A/B comparisons, an internal low hum toroidal

NEW!! RVON ACTIVATED

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Next-generation intercom matrix provides an unprecedented combination of flexibility, scalability and full-IP performance – all in a compact single rack unit package

The 1974 and 1976 fully variable bandwidth for the parametric mid-bands. Switchable slope and low peak allow users to adjust the focus and magnify the bottom end, while indented and accurate potentiometers are said to offer improved precision with faster recall. The 1974 claims to be ideal for tonal shaping while ‘staying true to the sound of the 1970s’. The frequency controls offer a cut and boost of ±12dB. However, unlike EQs with no bandwidth adjustment or a simple switch, the two mid-bands have variable filter bandwidth controls enabling the user to focus in

linear power supply with voltage selector switch and a rugged steel chassis. Meanwhile, the new 1976 stereo three-band saturation and width processor is a nod to the DC2476 digital master processor. Suitable for recording and live sound, it offers analogue saturation over three bands. The stereo width of the lows, mids and highs can be adjusted to add ‘real presence and depth’ to a mix, according to the manufacturer. A single, yet comprehensive, set of controls provide stereo operation.

REVOLUTI ONI Z E YOUR I N TERCOM ... I N ONE RACK UNI T

Easy system expansion as your business needs require – up to eight units can be interconnected for a total of 1024 ports Offers the broadest interoperability with future, current and legacy RTS products – supports Dante-compatible OMNEO IP technology; allows seamless connectivity between analog two-wire, four wire and digital devices Learn more at rtsintercoms.com/odin

For more information, contact us at +65 6571 2808, apr.buildingtechnologies@bosch.com

www.drawmer.com

July–August 2019 PRO AVL ASIA 73

PRODUCTS

Compact desktop mixing SOLID STATE Logic has added a range of new products to its mixing product line, star ting off with SiX, a condensed pro console for studio, postproduction, stage and podcasting use. Developed to offer ‘big console sound’, the por table console includes two recording channels with SuperAnalogue mic pres, twoband EQ, a one-knob version of the SSL Channel Compressor, a new two-band channel EQ, inser ts and 100mm faders. There is also a two-knob version of the G-Series Bus Compressor on the main mix bus and the Listen Mic Compressor on the Talkback.

SiX The SSL SuperAnalogue design claims to offer more detailed audio with a wider dynamic range, low noise and lower distortion. The two mono channels offer a gain range of 66dB, a 75Hz high-pass filter and an independent line-level input that can be switched to instrument-level input with higher impedance.

Cinematic processing SSL has also released its new S500m console as the latest surface addition to the System T range. The S500m can be specified as 32 and 48 fader versions with turnkey flight case solutions, or as a larger custom specification surface with up to 96 faders. The S500m provides all the similar features of the System T S500 console in a form factor that is 25% lighter, according to the manufacturer. Specifically designed for OB and flypack applications where weight and portability are key concerns, the S500m’s modular functionality means a console can be deployed with or without an extended metre bridge. The S500m was accompanied by the launch of the Dynamic Automation Software (DAS), suitable for broadcast mixing consoles such as the S300 and TCR. The software allows automated parameters on the console to be stored with mixes against MTC or LTC and can be managed from within the console’s file system. Touch sense faders and encoders, plus touchscreen controls, also provide multiple ways of writing automation data across all processing on all channel and bus paths.

S500m

www.solidstatelogic.com

STUDIO TECHNOLOGIES has launched the Model 207 eSports Console. While it’s not the type of gaming console to be competing with the likes of Nintendo, Sony and Microsoft, Model 207 will support the microphone, audio monitoring and inter facing needs of players and personnel during esports events.

A two-channel stereo line input offers compatibility with analogue outputs found on personal computers. A patch cord connects to the console’s 3.5mm three-conductor input jack. The stereo line-input signal is conver ted to digital and output via a pair of Dante transmitter channels. A PoE connection delivers operating power and data transpor t. Studio Technologies’ STcontroller software can be used to configure various functions of Model 207, such as microphone preamplifier gain, electret power on/off, stereo line-input gain, headphone monitoring, push button action and overall system operation. Meanwhile, the Model 348 intercom station has been developed for use in broadcast applications. It incorporates Dante and provides eight talkand-listen audio channels that can be configured for intercom, talent cueing (IFB) and REMI/ At-Home applications. Finally, the Model 381 is an on-air beltpack featuring Dante audioover-Ethernet technology.

Studio Technologies enters the game

Model 348

Model 207 A compact, table-top enclosure, Model 207’s analogue and Dante audio-over-Ethernet technology allows for direct integration with personal computers and Ethernetbased audio networks. The manufacturer states that only a few standard connections are required to integrate Model 207. A five-pin female XLR and a 3.5mm four-conductor (TRRS) jack allow gaming headsets and intercom systems to be connected.

Model 207’s microphone preamplifier and dynamics control circuit are reportedly built to ensure optimal sound per formance. The microphone audio signal is converted to 24-bit, 48kHz sample rate digital audio and is routed to two Dante transmitter channels. An integrated sidetone function is included, as are front-panel push button switches.

Model 381

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www.studio-tech.com

CPi2000 THE CPi2000 processor from JBL offers audio enhancement and volume control capabilities for cinema sound solutions. It provides DSP processing, presets for JBL cinema speaker crossover, system fault detection and custom-designed GUI software used for system configuration, delivering a ⅓-octave GEQ for room tuning via the processor. It is suitable for cinemas using 5.1 or 7.1 surround sound. The front-panel LCD display allows technicians to monitor the status of the system, including amplifiers and speakers, and a volume knob enables the adjustment of global output levels. When paired with certain Crown amplifiers, the processor can detect faults in the system, sending information to a TMS or third-party control system via its RJ45 connector. Analogue, digital, non-sync and mono mic input options are included. The analogue and digital inputs accept audio signals from any cinema server; the non-sync takes line level stereo signals from CD or DVD

players from BGM playback; and the mic input connects to an RTA microphone for room tuning. The CPi2000 also possesses 10 HD-15 analogue outputs for passive, bi-amp or tri-amp connection, a 25-pin analogue output compatible with thirdparty sound systems and a redundant output that works with analogue input to bypass the processor during power cuts.

PRX800 V2 In other news, JBL has released an update for its PRX800 series of powered portable loudspeakers. The V2 firmware update offers a new default tuning preset featuring enhanced low frequencies on the PRX815 and PRX812 models. www.jblpro.com

Mixing with more power DIGICO’S DIGITAL SD12 multi-application live mixing console for broadcast, install, house of worship and theatre applications with dual 15-inch touchscreens has been ‘supercharged’, taking it from 72 to 96 channels and from 36 to 48 aux/sub groups, with the latest SD12 96 upgrade.

Along with the SD12 96 chargeable upgrade, the new SD10+ upgrade comes free of charge but is only available for Core 2 consoles. With the upgrade, the SD10+ console has been expanded from 132 to 144 input channels. www.digico.biz

PRODUCTS PRODUCTS

Yamaha refines its stageboxes MMP1 system Lawo debuts AoIP YAMAHA HAS updated its MMP1 YAMAHA HAS updated its MMP1 studio monitor management FORMING PARTmanagement of the A__line studio monitor system to support production family devices, A__stage80, systemoftoAoIP support production workflows in one compact, rackA__stage48 are workflows inand oneA__stage64 compact, rackmountable unit. The new firmware WAN-capable andThe combine Class-A mountable unit. new firmware for the Yamaha MMP1 studio mic preamps, digital A/D for the Yamahaadvanced MMP1 studio monitor management adds a FIR filtering and SMPTEadds 2022-7 monitor management a series of refinements, including Seamless Protection Switching series of refinements, including support for CB Electronics’ TMC-1 (SPS) that two discreet, support forprovides CB Electronics’ TMC-1 monitor controller. redundant network links for network monitor controller. The signal processor connection The signalstability. processor incorporates advanced monitor A__stage80advanced is a 3U multi-input incorporates monitor AoIP stagebox with mic, analogue line and AES3 I/O presented on standard, high-density D-SUB connections. It features 32 switchable mic/line inputs, 32 analogue line outputs, eight ‘STUDER MICRO Series V2.0 ‘STUDER MICRO Series V2.0 stereo AES3 inputs and eight software streamlines and software streamlines stereo AES3 outputs. and A__stage80 improves mixing workflows,’ improves mixing workflows,’ also includes dual-redundant explained Mark Hosking, director explained Hosking, MADI portsMark on SFP, eight director optoof broadcast sales at Harman of broadcast Harman isolated GPIOsales ports,atand dual when discussing the latest update when discussing theand latest update 1000BT streaming control to Studer’s digital audio mixing to Studer’s digital audio mixing ports on SFP/RJ45. A separate system solution broadcast. system solution broadcast. management port is supplied The V2.0 software adds The V2.0A__stage48 software adds on RJ45. supplies features such as ducking, user features such as ducking, user 16 switchable mic/line inputs, access privileges and assignable access privileges and assignable 16 analogue line outputs, eight effects, as well as 19 major effects, as well as 19 stereo AES3 inputs andmajor eight improvements and bug fixes improvements and bug stereo AES3 outputs onfixes standard including the VoiceMix auto mixing including the VoiceMix D-SUB connectors, withauto dual-mixing

Micro 2.0

control and a range of audio control and a range of audio processing functions. In addition processing functions. addition redundant MADI por tsInon SFP, to a 40x36 monitor matrix – which to a 40x36 monitor matrix – which eight opto-isolated GPIO por ts, allows flexible configuration of allows flexible streaming configuration dual 1000BT andof main monitor, cue and other audio main monitor, cueSFP/RJ45, and other audio control por ts on and I/O – the MMP1 includes a 32x32 I/O – themanagement MMP1 includes 1000BT porat 32x32 on speaker management matrix with speaker matrix with RJ45, in management a 3U form. A__stage64, time alignment functionality and time alignment functionality and for applications where discreet FIR crossover filters. The unit also FIR filters. unit also I/O crossover is preferred, hasThe a capacity offers the flexibility for managing offers the flexibilitymic/line for managing of 32 switchable inputs, formats from stereo to immersive, formats from stereo to immersive, 16 analogue line outputs, eight multichannel audio. multichannel stereo AES3 audio. inputs and eight stereo AES3 outputs, presented on XLR connections, in a 4U package. In addition, Lawo has unveiled a new option for its third-generation mc256 audio production console. The dual fader option incorporates the manufacturer’s LiveView thumbnail previews of associated video streams directly in the fader strips to repor tedly enhance accuracy in fast-paced productions. functionality. Additionally, the 2.0 The GermanAdditionally, manufacturer functionality. the 2.0 update provides the Micro Series has also added new features update provides the Micro Series with frequency compliance for the and frequency capabilitiescompliance to its Power with for the Japanese market. Core mixing engine and I/O Japanese market. The Studer Micro Series consists node. A Dante cardSeries with dualThe Studer Micro consists of a core unit, graphical user redundant ports and sample of a core unit, graphical user rate

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

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

dual-redundant, front-panel SFP ports for AoIP, broadcasters have their choice of optical or copper network connections, without the cost of external media converters. The final addition is Version 1.1 is available as a Version 1.1SPS, is available as a ST2022-7 which provides free download from the Yamaha free download from Yamaha dual-redundant AoIPthe network website. website. connections. Twin active links guard against audio loss should www.yamahaproaudio.com www.yamahaproaudio.com one link be interrupted. In other news, LiveView Decoding Engine has been incorporated into Lawo’s V__matrix vm_dmv multiviewer to show both production (ST2110/ST2022-6) and compressed transmission its Crescendo platinum desk in a its Crescendo platinum desk in a (HEVC/H.264/MPEG/OTT) formats future update. future update. on the same screen for end-to-end In addition, 3D audio can be In addition, audio can be visibility, while3D new auto-topology, now be mixed with four overhead now be mixed with four overhead PTP-monitoring, cloud and data speakers using Aurus platinum as speakers using Aurus platinum as storage features have been added part of the 4.7 software release. the 4.7 software topart theofcompany’s SMARTrelease. system The ability is also provided to The ability and is also provided to monitoring real-time telemetry create temporary link groups create temporary link groups solution. that allow channels to be linked that allow channels be been linked Finally, VisTool Solotohas quicker via the control surface. quicker viaa the control surface. launched, lightweight version This function is also available on function is also available on ofThis Lawo’s VisTool GUI-Builder the Aurus console. the Aurus console. Software.

Parallel compression

Studer’s Micro Series Studer’s Micro Series interface and optional fader interface and optional fader control surface. Its V2.0 update is control surface. Its V2.0 update is available as a free download for all available as a free download for all registered Studer Micro users. registered Studer Micro users. conversion has been added to www.studer.ch www.studer.ch reportedly allow easy integration

STAGE TEC has released software STAGE TEC has released software version 4.7 for its Aurus platinum version 4.7 for its Aurus platinum mixing console. New features mixing console. New features include parallel compression, include parallel compression, also referred to as New York also referred to as New York compression. compression. Parallel compression has been Parallel compression has been added as an additional operating added as an additional operating mode for Aurus platinum’s existing mode for Aurus platinum’s existing compressor. It is used mainly compressor. It is used mainly inThe recording and postproduction A__stage48, 80 and 64 in recording and postproduction applications. Stage Tec has also applications. Stage Tec has also announced that it will make that it will make of announced pro audio equipment into www.stagetec.com parallel compression available for www.stagetec.com parallel compression available broadcast environments. With for www.lawo.com

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PRODUCTS

Stage-ready in-ear monitoring LD SYSTEMS has launched an in-ear monitoring system aimed at bands, musicians and rental firms. The U500 IEM Series is available as a set, with and without headphones, and comes equipped with switchable transmitting power of 2mW, 10mW and 30mW in order to meet country-specific regulations. Designed to provide a more reliable signal transmission over a distance of up to 100m, the systems provide ‘unrestricted freedom of movement’ across any application.

There are 96 receiver channels available to offer mono or stereo operation as required. The in-ear mix can be adjusted to fit via a three-band EQ with parametric mids.

In addition, the U500 systems allow for personalised username entry and storage of preferred settings in 10 preset memory locations. Depending on the frequency band,

and under harsh sunlight, while the pocket receiver provides an operating time of up to 10 hours. The U500 IEM systems are available for operation in various frequency ranges. The 470– 490MHz, 514–542MHz, 584– 608MHz and 655–679MHz bands permit running up to 12 systems simultaneously. In the 823–832MHz and 863–865MHz ranges, six systems can be operated at the same time, providing wireless monitoring for the entire band. A rack-mount kit and a rugged transport case are also supplied.

up to 12 systems can be operated simultaneously. The transmitter and receiver units are equipped with a high-contrast OLED display for use on dark stages

www.ld-systems.com

dLive goes ultra-compact with Wings Silver-plated connection

dLive Wings ALLEN & HEATH has been showcasing its ultra-compact dLive touring systems based on dLive Wings. Central to this concept is the C1500 surface, which allows engineers to

manage upscale shows from a 19-inch console, using its 12-inch touchscreen, 19 assignable SoftKeys and 12 faders over six layers. The C1500 can be paired with any of the dLive MixRacks for

UNiKA offers a network-friendly route UNIKA’S NBB-0202 transceiver has been built to transmit 2x2 audio to and from a Dante network. By adopting Dante capabilities, the manufacturer states that it is very network friendly with ‘unlimited’ flexibility when it comes to deployment. With a sturdy metal chassis and front panel design, it can be mounted into standard 19-inch racks. The NBB-0202 supports the IEEE 802.3 network standard up to Layer 3, enabling the use of off-the-shelf Ethernet switches and facilitating the immediate transport of streaming audio via an existing network. It comes with a pair of Ethernet ports that allow several NBB-0202 units to be connected using the same network link. Due to its Dante capabilities, the NBB-0202 can be configured

via Audinate’s Dante Controller software on a PC. Meanwhile, the Dante Virtual Soundcard software can be employed to stream stereo audio between a user’s DAW software and the NBB-0202. Audio is encoded and decoded with an uncompressed 24-bit PCM encoder/decoder in sample rates of 44.1kHz, 48kHz or 96kHz. Outputs feature amplifiers that can drive the lines up to 24dBu and can be lowered to meet the input range of devices requiring less power. The NBB-0202’s inputs accept a signal level from mic to line with individual gain and phantom power control. The unit is also equipped with a pair of clip indicators, one for each input, to warn of potential signal overload. www.unikapro.com

76 PRO AVL ASIA July–August 2019

when space and weight are at a premium. ‘Going from a 36-fader sur face to a 12-fader C1500 or a touchscreen can seem daunting at first,’ commented Ben Morgan, dLive product manager. ‘But with a bit of planning and smart use of SoftKeys, it’s amazing how quickly engineers embrace the Wings concept and the freedom it brings. Here’s a flexible, compact rig, with the same power as all our dLive systems, but easily checked at baggage and flown on a standard commercial flight.’

GERMAN MANUFACTURER Sommer Cable has devised a silver-plated high-end instrument cable, the SC-Silver Spirit. The cable uses tightly, concentrically stranded class 6N (OFC 99.9999%) copper wires, which are then refined and smoothed with a high-grade silver alloy (935/1000) to deliver a ‘more lasting

performance’ and can also be neatly processed with silver solder, without electrical losses. The double-shielded cable (1x0.22mm²) has a flexible, yet robust outer jacket of 7.4mm in thickness made of a temperatureresistant PVC compound, and is fitted with gas-foamed and smoothed wire insulation. Formulated for guitar, bass and other instruments, the cable is appropriate for both studio and stage use or as an unbalanced cable for keyboards, samplers, mixing consoles and hi-fi systems.

www.allen-heath.com www.sommercable.com

Tasker unveils Super cables FOLLOWING FEEDBACK from its customers, Tasker has developed the C282 Super which the Italian manufacturer reports has quickly become one of its bestselling products. It is a strong 8x4mm² speaker cable with a crown-shaped grouping around a central PE filler that is said to give the cable a solid but also very flexible structure, and is particularly suited for all mobile and rental installation equipment. For users wanting to install a LAN cable that allows the transmission of digital audio and video as well as the classic data signal, Tasker has also unveiled the C726 PUR Super, the big brother to the company’s C726 PUR. It is a Cat-7A cable that allows a data transmission speed up to 1GHz for CATV applications. In the broadcast sector, Tasker has added the T442 PUR which contains four of

the manufacturer’s successful T42 PUR cables. T442 PUR is a flexible coaxial cable with multifilament formation and double braid shield in tinned copper OFC which allows 12G-SDI video transmissions up to 70m. For users looking for a triaxial cable that

must be as flexible as possible to allow professional cameras to move freely, the TR11 PUR Extra Flex has a silver-plated conductor and shield. www.tasker.it

PRODUCTS

Thunderbolt strikes RedNet Control THE LATEST version of RedNet Control is available to download from the Focusrite website. Version 2.3 of the software introduces control over Thunderbolt for Red 4Pre, 8Pre and 16Line interfaces. The download is a free software update that unifies RedNet Control with configuration, status monitoring, metering and extended operational control. RedNet now provides parameter control that includes clock source selection, sample rate converter configuration and reference level setup. All the functions of Red mic pres can be controlled from the software, such as gain, phantom power, phase invert, high-pass filter and air mode. Graphical control for Red range units is separated into five pages: I/O control and metering, input routing, output routing, monitor control and custom mixes. From the custom mixes page, RedNet

Control’s internal audio mixer allows for the creation of up to eight separate mono or stereo sub-mix signals. Up to 30 of all the

In other news, Focusrite is offering Plug-in Collective community members a free licence for Sonarwork’s Reference 4 Headphone Edition software. The tool comes either as an audio plug-in for a DAW’s master

Peavey partners with Neets RedNet Control 2.3 available inputs can be selected as sources for the mixer. Once selected, these input signals will then become available to all custom mixes. Furthermore, each mixer output can have an individual balance of fader levels, mute and channel pan settings.

channel or as a standalone tool that aims to flatten the frequency response of a user’s headphones and remove unwanted colouration through the use of predefined profiles for specific models. www.focusrite.com

Coda rewrites Linus Control CODA AUDIO has a new graphical user inter face for its Linus products that it is describing as a complete depar ture from the previous Linus Live v1.2 platform. Linus Control v2.0 consists of a rewritten and restructured

firmware designed to provide both greater stability and flexibility, as well as new control and monitoring features. It is compatible with both MacOS and Windows workstations, and with both tablet and native inter faces. Also bundled with

the application are speaker files, control logic and thirdpar ty UDP control protocol for offline remote control of Linus amplifiers from third-par ty devices. www.codaaudio.com

Genelec shows some ID

GENELEC HAS launched its new Aural ID software technology, which takes a user’s unique acoustic attributes to develop a detailed modelling of the anatomical features affecting their hearing, and then compensates for this. The manufacturer states that this enables a ‘more truthful and reliable sound’ when using headphones for reproduction

and monitoring. The Finnish manufacturer views academic research, immersive audio monitoring, VR and games development as potential applications for this technology. Aural ID calculates the listener’s personal Head Related Transfer Function (HRTF). The HRTF encompasses the acoustical properties of the head, upper torso and external ear, as these

78 PRO AVL ASIA July–August 2019

elements interact in ways that ultimately affect how sounds reach the eardrums. The software then creates a personal data file that modifies sound arriving from any direction according to the user’s characteristics. This file also allows an audio engine to render stereo or immersive content via headphones. Users upload a 360° video of their head and shoulders to Aural ID. The calculation process will then build a 3D model scaled to the same dimensions of the user’s proportions, paying particular attention to the modelling of the external ears. Acoustic fields are then analysed and calculated to capture detailed acoustic phenomena. The acoustic fields are computed for audio approaching the head from hundreds of angles. Finally, the HRTFs are created and the data is compiled in a downloadable SOFA file. www.genelec.com

PEAVEY COMMERCIAL Audio (PCA) and Neets have announced the availability of a TanGo driver for PCA’s Digitool family of digital audio processing units for loudspeaker management, matrix mixing and room combining. The driver is currently available for the Digitool MX16 and Digitool Live devices, both of which are 8x8-channel units. The Neets TanGo is a control system enabling intuitive touch control of third-par ty devices – such as Digitool – either through the array of Neets touchpanel devices, Android/iOS touchpanels or

standard browsers allowing for custom-built GUIs. For easy installation, TanGo comes with PoE-in and PoE-out to avoid the need for an external power supply for either the control system itself or any external device. The Neets TanGo driver developed by PCA offers an IPbased command set including input and output channel level and mute control, level and mute functionality for all audio matrix points and the ability to trigger internal preset loads.

XPRESSION V9.0 has been launched by Ross Video, offering more than 40 new features for workflows, from the acquisition of content in traditional desktop design software to the playout control of multiple XPression realtime motion graphics engines. The update to Xpression also provides a direct way of obtaining files from Adobe Photoshop. With

and Take IDs. Users also gain more flexibility when accessing individual Take IDs as Remote Sequencer now allows them to modify the content and channel assignment of Take IDs just before going to air. XPression Project Server and Scene Manager can be integrated for adding new Take Items to the playout sequence at the last minute.

version 9 of XPression, Adobe Photoshop files and associated layers can be imported into XPression and provide an accurate position on the screen, retaining the layer order and grouping the artist designed them in. In addition, Ross has released a new version of its XPression Remote Sequencer, which now provides extended playout control of rundowns for individual channels

The manufacturer has also unveiled its new virtual studio rendering solution, which is based on the Unreal 4 gaming engine from Fortnite developer Epic Games. This new system is aimed at broadcast and production applications requiring advanced rendering for augmented reality and virtual sets (ARVS).

www.peaveycommercialaudio.com

Ross displays new Xpressions

www.rossvideo.com

Lyzard-KZ1 An innovative sound experience from a 0.5â&#x20AC;? high-efficiency driver | k-array.com

At K-array, we concentrate all our efforts and resources in the revolutionary design and manufacture of highly-efficient sound systems. Needless to say, our Lyzard-KZ1 is an astoundingly small loudspeaker. In fact, it measures 22 x 37 x 10 mm and weighs only 23 grams.

PRODUCTS

Broadcast Pix unveils BPswitch IX THE BPSWITCH IX integrated production switcher has been designed by Broadcast Pix for venues that follow IP-based

workflows and use remote cameras. The switcher includes six network inputs that support NDI and RTSP sources.

With a pair of SDI/HDMI inputs and an analogue input for compatibility with legacy systems, BPswitch IX can receive and switch

between up to six IP camera feeds. It has a native 1080p60 resolution and can integrate MPEG-2 and H.264, among other

streaming formats within the same production, providing SDI, HDMI, analogue and streaming outputs. When used in conjunction with the Broadcast Pix Commander touchscreen control interface, BPswitch IX provides browserbased control with full-motion video and access to all sources and workflow tools via a mobile device connected to the internet. Commander has been designed with simplified controls, enabling non-technical personnel to be able to switch during live productions, add titles, insert clips and control robotic cameras. As with previous BPswitch models, BPswitch IX delivers eight channels of clips and graphics, and three keyers with DVEs, as well as integrated NewBlueNTX multi-layer 3D motion graphics CG with hundreds of templates. www.broadcastpix.com

Live event projection mapping GREEN HIPPO has come out with its latest software offering to serve the live events market. The Hippotizer Version 4.5 allows real-time media playback and 3D projection mapping, and is the result of feedback from endusers operating systems at live events. The software includes new features such as Object to Output as a new method for output mapping. Object to Output maps content to outputs directly inside SHAPE’s 3D workspace – a 3D mapping tool set to aid the design and pre-production of shows – and helps simplify the management, integration and movement of a large number of displays. Using Object to Output, users can expect to integrate moving set elements, map a single video across multiple displays, as well

as adjust content. In addition, the new Beat Bridge feature aims to simplify programming by allowing Hippotizer parameters to react to audio input in real-time, to the beat of the music or the intensity of a crowd, and can be combined with Midi or DMX controllers. www.green-hippo.com

No limits to NDI recording IN ASSOCIATION with Virzt, NewTek has unveiled NDI 4 which allows users to merge the fields of live video and postproduction by including the ability to record unlimited NDI video channels for multi-camera editing with full synchronisation. NDI video sources are recorded without recompression, providing the ability to ISO-record any number of channels, limited only by disk and network performance. With recordings time-stamped and time-base corrected, any number of channels on any number of machines are said to be fully synchronised, ‘making video editing from multiple sources of the same event easier and making multi-cam editing truly accessible

for the first time’. NDI recording supports alpha channel, any number of audio channels and works with 16bpp sources at full precision. The free NDI SDK will include all recording tools. In other news, LightWave 3D 2019 has been released, a new edition of NewTek’s graphics and animation package. Improvements include integration tools with Unreal Engine for real-time data

transfer and the Metamorphic system, which brings multipurpose animatable mesh sculpting and painting to Layout. Metamorphic also includes a wide range of brush options and controls, multiple animation modes, nonlinear interpolation and motion blur support. The Limited Bones mode provides the ability to match the number of bones able to affect a given point to the game engine

in use. The new mode also has real-time optimisations to more closely match the performance that game engines expect from a bone system. NewTek’s VMC1 integrated production system will soon be available as a softwareonly subscription that includes integrated graphics, animation, media playback, recording, streaming, transcoding and virtual sets. The software will be offered in configurations of up to 44-input, eight M/E, allowing users to build an all-IP UHD production system. TriCaster 410 Plus is the latest TriCaster integrated system that provides eight external inputs, four M/Es, four mix outputs, along with NDI integration for video,

audio and data transmission over IP. The rack-mountable system also includes real-time social media publishing, live streaming, multichannel recording, video playback, integrated multiviewers, graphics, compositing, virtual sets and audio mixing. Finally, two new Spark Plus models including 4K UHD and 1080p HDMI-to-NDI versions have been introduced. Spark Plus captures video directly from connected cameras or devices and allows it to be transported over the network as visually lossless, full bandwidth NDI with virtually no latency. www.newtek.com www.vizrt.com

PixelFlex forms a shield PIXELFLEX IS battling the brittle nature of ultra-fine pixel pitch LED displays with the launch of its new FlexUltra with PixelShield. A COB (chip on board) solution, PixelShield is an impact- and scratch-resistant coating that adds an extra layer of protection to high-definition LED systems. ‘Historically, these types of displays have been extremely fragile with high failure rates due to the damaging of pixels,’ said PixelFlex CMO, David

80 PRO AVL ASIA July–August 2019

FlexUltra with PixelShield

Venus. ‘With our new PixelShield protective technology, we are not only preventing the fragile nature of these displays, but we are

ultimately enhancing the longevity of the ultra-fine pixel pitch display market as well.’ FlexUltra has an aspect ratio of 16:9 and a 160° horizontal and vertical viewing angle. Its viewing panels are serviceable from the front and the system operates at a refresh rate of 3.84Hz for a flicker-free look on camera. It is available in 0.9mm, 1.2mm, 1.6mm and 1.9mm pixel pitch versions. www.pixelflexled.com

PRODUCTS

Absen Wisycom widens the gap Burl’s bigis an Aries announcement THE ARIES Series 1.5mm (AX 1.5) is Absen’s first response to requests for a sub-2mm fine BURL AUDIO has added pitch LED NPP display. It is the a raft to first entrofy new in theproducts manufacturer’s its catalogue. First Aries Series and, as is thethe name B4 four-channel mic/line suggests, has a pixel pitch of input daughter card for the 1.5mm. B80 and B16 that Motherships. Absen states the Aries The B4 incorporates the to Series has been developed new BX6 input transformer produce a much broader range for well true as mic/line ofdesigned colours, as providing input impedance. maintains ‘road-rugged’ cornerItedge a Class-A allowing analogueitcircuit protection, to be followed bytothe same ItADC transpor ted events. is also the manufacturer uses in the BAD8. Using a single B80 chassis, 40 input channels of audiophile mic/line inputs can be realised. The B4 also incorporates SoundGrid networking and processing, Dante connectivity and digital control options. KEEPING UP with the current trend for HDR, Lynx Technik has introduced HDR Evie, an enhanced video image engine powered by the greenMachine multipurpose processing platform. Described by the manufacturer as the first system to use advanced algorithms that

Automated conversion

DESIGNED FORinstallations touring suited to fixed and companies, studios suppor ts thebroadcast HDR10 standard. andcabinet per formance venues Its measures 27.5 inches challenged by aratio shrinking RF with an aspect of 16:9. spectrum, released This designWisycom aims to has make it the MRK980 Ultra-Wideband easy to replace existing LCD True Diversity The 1U videowalls, as Receiver. well as suppor ting two-channel comes with full front ser receiver vice. aThe high-contrast OLED display and Aries Series solution also provides the 1,090MHz of switching includes latest Integrated bandwidth covering the VHF, UHF Matrix Device and Common and 900MHz bands. as Cathode technologies, Operating with Wisycom’s does Absen’s 0.9mm pixel LinearCR0.9, transmit technology, pitch which forms par t thethe system provides of CR Series. TheupCR0.9

to 30 channels within one 6MHz TV channel. Free of intermodulation distortion that typifies conventional systems that are reliant upon external signal processing equipment, no calculations are required using the ultrafast spectrum scan. The receiver’s DSP-FM technology also provides very AX 1

narrowband channel filters that yield 50% more band efficiency and 200–250KHz channel spacing. By providing an additional 3dB of sensitivity and noise immunity, this equates to doubling the power while increasing the range. The MRK980 also includes Dante compatibility, analogue and digital outputs and Wisycom’s

www.absen.com www.wisycom.com

Future-Proof Technologies / Reliable Solutions / Safe Investment /

greenMachine HDR Evie automatically analyse and apply optimal corrections in real-time on a frame-by-frame basis, HDR Evie is suited for sports or any live broadcast event needing Next is the BDA4M, a high-quality,grade real-time mastering DAC HDR to SDR stepped conversions. with attenuators greenMachine is a compact, and switchable output self-contained Specifically AV processing transformers. platform that is equipped designed for mixing and with integrated mastering, the frame BDA4M uses synchronisation, up/down the latest Burl NextGen cross conversion and‘superior a suite of analogue design for audio processing capabilities. fidelity and clarity’. The BDA4 greenMachine HDR Evie transformer-coupled, foursupports digital-to-analogue single-channel 12G channel, SDI 4K/UHD conversions or converter daughter card for can B80 be configured as a fourthe and B16 Motherships channel 3G (HD) uses thedevice newly for developed applications. Quad 2SI BOPA14, also4K with Burl’s inputs and optionaldesign. 12G fibre NextGen analogue The I/O connectivity reportedly BOPA14 is a discreet, Class-A makes itwith compatible with op-amp a minimal number almost any system. HDR Evie of transistors alongside supports a range open a tighter bass andofhigher standards for conversion, tone definition. mapping andBX5 colour gamut Finally, the is an output including HLG, PQ, SDRinand transformer first used the SLog3. B32 Vancouver Mix Bus.

is typically suited for use in corporate settings and control rooms, with true pixel-to-pixel HD in 4K and 8K, and high grayscale at low brightness levels optionaltopush-to-talk (PTT) function thanks its incorporation of forystalView offline communication Cr technology. to monitor engineers, per formers Also new is Absenicon, and presenters the network. described as anon all-in-one The MRK980 canavailable be remotely display solution, in controlled through IP network five different sizes an between usinginches the Wisycom 2.0 110 and 220Manager inches with software inter face. 4K compatibility.

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July–August May–June 2019 PRO AVL ASIA 81 83

PRODUCTS

Panasonic adds 4K displays at all price points PANASONIC HAS added four new models – the TH-655SQ1, TH-55SQ1, TH49SQ1 and TH43SQ1 – to its SQ1 series of 4K display panels. These models present smaller options within the premium series, at 65, 55, 49 and 43 inches, respectively. They include the same features as the existing 98- and 86-inch panels already in the series, and offer a ‘slim and stylish design’. The SQ1 panels are reportedly capable of 24/7 continuous operation and a brightness of 500cd/m2, with In-Plane Switching technology and antiglare treatment for increased visibility from multiple viewing angles. The series is also HDR compatible and includes 12-axis colour management. The projectors are designed for easy set up with the manufacturer’s proprietary 4K Digital Link, which is based on the HDBaseT

either an Intel CPU or inter faces such as SDI, NDI or VoIP. This means it’s possible to tailor the display and its connectivity to the application.’ At the lower end of the cost spectrum, Panasonic has introduced the entry-level CQ1 series of 4K display panels. They are built for 16 hours of ET-DLE020

TH-655SQ1 standard and connects video, audio and control signals to external devices via a single LAN cable. Meanwhile, a built-in 4K USB media player negates the need for an external source. Multiple SQ1 displays can also be daisy-chained to form a videowall. ‘We are among the first to introduce the new Intel

SDM (Smart Display Module) slot to the SQ1 range,’ noted Hartmut Kulessa from Panasonic. ‘SDM boards can house

continuous daily operation and are fully equipped with basic terminals that support HDMI CEC. ‘The CQ1 series will meet the needs of the vast

majority of organisations looking for 4K displays for information sharing and communication, but without the need for ultra-high brightness and round-the-clock operation,’ added Kulessa. Elsewhere along the video chain, Panasonic has launched three new zero offset lenses for its range of 1-Chip and 3-Chip DLP projectors. The ET-DLE020 ultra-short throw zoom lens fits all Panasonic 1-Chip DLP projectors and is said to be the industry’s first ultra-short throw projector to feature a powered optical zoom. The ET-D3LEW200 short-throw zoom lens and ET-D3LEU100 ultra-short throw lens, meanwhile, are made for use with Panasonic’s high brightness 3-Chip DLP laser projectors and are also suitable for 20,000- and 30,000-lumen, WUXGA and 4K+ projectors. www.panasonic.com

Smart in the city DESIGNED TO provide new opportunities in the outdoor AV market, Smart City Kiosk from Peerless-AV consists of four models: 49 inches (KOP2549XHB-EUK) or 55 inches (KOP2555XHB-EUK) with the manufacturer’s Xtreme High Bright Outdoor Display included, or as a kiosk enclosure only, designed for 46-inch (KOP2546-OHF-EUK) or 55-inch (KOP2555-OHF-EUK) Samsung OHF Displays. The solution is described as ideal for sharing corporate or community information, travel and weather details, as well

as wayfinding, advertising and entertainment. The KOP2549-XHB-EUK and KOP2555-XHB-EUK models are rated IP68 for temperatures ranging from –35°C to 60°C. The sealed display is said to eliminate the need for air conditioning or fans for cooling. Steel mesh on the rear panel assists Xtreme High Bright Outdoor Displays with passive cooling and allows Samsung OHF Displays to exhaust hot air and intake cool air. Interactivity can be added to all four models with an optional plug-

display is optically bonded to increase the perceived contrast ratio and cut down on glare. Finally, a floor- and ceiling-mount solution for the Samsung OMN-D series has been announced. The mount supports both 46-inch and 55-inch Samsung back-to-back display models and is described as ideal for high-impact, in-window retail and commercial applications. Optional custom colour trims can be added to match branding or application settings.

and-play, 10-point IR touch overlay, also tested to IP65 standards to protect against water and dust. Staying outdoors, Xtreme High Bright has an IP68 rating and a patented Dynamic Thermal Transfer System. The display is described as maintenance-free with no fans, vents or filters to let in water, dust, moisture and insects. It also has an operating temperature range of –35°C to 60°C. The IK10-rated, antireflective, impact-resistant safety glass reportedly protects against vandalism and debris, while the

www.peerless-av.com

Telestream heads to the cloud TELESTREAM HAS unveiled what it describes as a new approach to media processing workflows whether in the cloud, on premises or both. Vantage Cloud Port allows cloud execution of Vantage processing actions using containerised micro-services with engines identical to onpremises services. The modular, orchestrated building blocks can optimise both brownfield and greenfield deployments, while any existing or new Vantage installation can reportedly transfer specific processes to/from the cloud. Existing Vantage users gain access to cloud-capable actions even if those actions are unlicensed in their on-premises Vantage system.

82 PRO AVL ASIA July–August 2019

CaptionMaker 8

Vantage Cloud Port decides if processing is to be done onpremises or in the cloud based on media location and/or domain utilisation. The system has also been developed and qualified to run on Microsoft Azure. In addition, the manufacturer has released OptiQ, a one-click channel creation solution for cloud environments. Developed in association with a European telecoms service provider, OptiQ reduces the amount of time to create a new channel to minutes rather than weeks or months. The new channels feature integrated monitoring and the ability to switch between multiple sources (live or file-based). OptiQ facilitates

new revenue streams for content providers looking to accelerate time to market for new channels, and for broadcasters and service providers by enabling short-term (premium and non-premium) channels/events, or additional content such as highlight reels, player bios and event histories alongside premium content. Telestream has also announced the latest version of its CaptionMaker closed captioning and subtitling software. CaptionMaker 8 provides language support and access to Telestream Cloud’s Timed Text Speech auto-transcription capabilities. www.telestream.net

CONQUER THE

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

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PRODUCTS

Hitachi pairs CMOS imaging with remote operation THE SK-HD1800 HDTV studio and field production camera from Hitachi Kokusai combines the advanced CMOS imaging technology found in the manufacturer’s Z-HD5500 camera with a motorised, four-position filter wheel for remote operation. This makes the SK-HD1800 applicable to mobile and eventbased productions and suitable for events with challenging LED lighting and displays. ‘The use of LED lighting and displays in live production environments continues to

expand rapidly, and our Z-HD5500 camera has proven extremely popular for its ability to capture high-quality, rock-solid video in these often-challenging settings,’ said John J Humphrey from Hitachi Kokusai Electric America. ‘At the same time, features like remotely operated, motorised filter wheel support have made our SK series of cameras a preferred choice for remote and mobile productions. The new SK-HD1800 offers

customers the best of both worlds, and combines with the CU-HD1300 family of CCUs to flexibly support evolving industry trends including HDR, 4K and IP-based workflows.’ The SK-HD1800’s CMOS imagers are designed to adapt to changing LED lighting conditions. The advanced 1080p sensors work with Hitachi Kokusai’s digital signal processing and low-noise circuit technologies for visual sensitivity, colour fidelity and a 62dB signal-to-noise ratio. www.hitachi-kokusai.co.jp

Heavy artillery CANON HAS released its first 4K projector designed for use in large venues. The LX-4K3500Z is a high brightness DLP laser projector and is compatible with seven exchangeable lenses that can be used for screens between 100 inches and 1,000 inches from distances between 2m and 176m. The LX-4K3500Z features 10-bit colour processing, which allows it to output more than 1 billion colours across the DCI-P3 colour spectrum, without the need for additional filters. Featuring a laser optical system, encompassing a pair of colour light sources and a phosphor wheel, the projector offers a wide colour gamut to, in the manufacturer’s words, deliver ‘a sense of presence and immersion within native 4K video sources’.

The projector possesses two colour laser light sources that deliver 40,000 centre lumens. There are four different laser light output modes, including constant brightness and manual adjustment, which can be calibrated in 1% increments from 30–100%, providing added control of light output for blending. Its three 1.38-inch DLP panels allow for a 4096x2160 for 8,847,360 pixels output. www.canon.com

A new generation BLACKMAGIC DESIGN is looking to the next generation with its Ursa Mini Pro 4.6K G2 featuring fully redesigned electronics for higher speed processing. A new Super 35mm 4.6K image sensor captures up to 4608x2592 pixels with 15 stops of latitude at up to 3,200 ISO. This reportedly allows customers to record full sensor 4.6K images at up to 120fps, windowed 4K DCI at up 150fps and windowed 1080 HD

at 300fps. The camera also supports Blackmagic RAW and features a new USB-C expansion port for directing recording to external disks, meaning that users can now record for longer durations without stopping.

Ursa Mini Pro 4.6K G2 also uses the manufacturer’s Generation 4 Color Science that is said to result in accurate skin tones and lifelike colours. Blackmagic RAW images are encoded using a custom, non-linear, 12-bit space designed to provide the maximum amount of colour data and dynamic range. These formats can be recorded onto CFast or SD cards, as well as direct to flash disks using the USB-C expansion port.

The camera also provides an external, high-visibility, backlit LCD status display for viewing critical shooting information, a foldout touchscreen for reviewing shots without needing an extra on-set monitor and professional connections such as 12G-SDI, XLR audio and built-in, high-quality stereo microphones. www.blackmagicdesign.com

Artificial intelligence for video content creation FOR USERS looking to increase the quality of their video content, Sony has released the REA-C1000, an AI-based Edge Analytics system. The manufacturer states that the solution enables users to create video content in real-time without the need for professional training, additional staff or equipment.

REA-C1000

The REA-C1000 itself is described as a ‘compact and lightweight’ machine. It receives the inputs from cameras, automatically extracts the object in focus using AI-based video analytics technology to analyse the content and combines it with other images in real-time on a Graphics Processor Unit. The system does this by using motion and face detection and colour/shape recognition algorithms to produce professional content designed to keep audiences and congregations engaged. 4K/HD input and output are supported and the REA-C1000 has also been designed to connect directly to Sony’s PTZ cameras and XDCAM camcorders. With an HDMI network connection, the REA-C1000

84 PRO AVL ASIA July–August 2019

can also be integrated into AV setups, such as those with multiple displays, large screen projections and live streaming. Additionally, five optional features can be chosen for the REA-C1000. The first is handwriting extraction and presenter overlay, which can extract handwritten objects by optimising parameters and processing the images received by the camera, using the manufacturer’s moving/ still object detection algorithm. In practice, this makes written content and diagrams clearer for the congregation to see. Second is PTZ auto-tracking, which can track a subject and keep them in shot automatically when using PTZ robotic cameras.

The REA-C1000 connected to a PTZ camera Close-up by gesture is the third optional feature. This allows the REA-C1000 to detect and react to the gestures of an audience,

displaying an overview image and zoomed image in real-time. The fourth option, chroma key-less CG overlay, is based on Sony’s motion detection technology. It extracts a subject from the shot and overlays them onto a background. Finally, the focus area cropping tool takes an overview image from one camera and displays it as two different output images: an overview in 4K and a cropped version in HD. The cropped HD image can be either static, like the overview image, or can be used to track the subject, making it appear as if it were from a separate camera. www.pro.sony

NEWS NAMMNEWS: SHOWPRODUCTS PRODUCTS BUSINESS

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I was really connectivity via four Dallis show. ‘They have been level. using suitable for studio welland asI/O mic, available line or instrument It can www.ashly.com incorporates technology rich complement digitalwas signal 92 100 range inches,for110 inches satisfied and Lenticular theofresult just theinches, impression quite

DESIGNED FOR a broad range of installed applications, Outline’s Ki-Series is ‘2018 anNo application-flexible, WORLD: has beentoanother INDONESIA: stranger compact loudspeaker record-breaking yearconcept. for Lawo the high-ranking tables within Both (Ki-12 andinKi-10) are withmodels an all-time high revenue Jakarta’s inner sanctum of F&B said maximise efficiency and andtothe highest order backlog outlets, Rhema Multi Perkasa cost-effectiveness with internal in thecontinues company’s history,’ the (RMP) to attract new crossover a small Germannetworks, manufacturer’s global business with referrals and footprint, integral mounting points head offrom sales, Dunn, has plaudits its Jamie extensive and very high SPL The announced. network of satisfied customers. and synced with thecapability. transmitter via speakers also feature rotatablehas The Ismaya Group, however, IR sync functionality. horns can be adjusted been athat long-term clientfeature andwithout when System configurations any disassembly of the13 device. itan acquired this latest property Mahajak also installed JBL 8124 ATW-R3210 receiver along Outline has extended itsno in the SCBD, Mr Fox, it had ceiling in the pre-function with anspeakers ATW-T3201 bodypack or One of the JBLalso Control28-1 speakers Cinema Series with MV1CX. hesitation to turn tothe its long-term area, along with a CSA 140Z amplifier ATW-T3202 handheld transmitter. The slimline, coaxial DriveRack PA2. While SCB was audio designer and installer. The high-powered, ATW-T3201 is also equipped design ideal as a main system already covered inscrew-down, regards to 4-pin with theis cH-style, component for smaller cinemas amplification and mixing in the and connector, while the ATW-T3202 may also beroom, usedretaining as ATW-C510 the centre conference existing comes with either an speaker arrangements. dynamic in orL-C-R ATW-C710 condenserIts interchangeable cardioid capsule. Photo courtesy of Shinji and 120 inches in 16:9 andHosono in 92 inches and 100 inches in www.audio-technica.com 16:10. sizes are also Speaker management control a while Custom and have a large stock available, with maximum image has been applied in the form of ofJamie the X4, X4 Bars and now the Dunn width 2.651mm and a‘Imaximum MANX88 processors connected JDC1,’ofadded Mr Münz. thinkto a image height of 1.491mm. As well ‘We continued to grow in network switch, whose parameters this lengthy close relationship Combining aand bar, relaxed seating as conference rooms, the display revenue across allthe can be accessed via Merlaud with our customers isproduct one ofone the area and dining tables under screens are suited for studios, lines and successfully delivered software on an reasons GLP isHP aTV strong roof, RMP added itstouchscreen. expertise prior be operated as asuch control retail venues, several large-scale projects such Programmed announcements brand inrooms, Japan. We been to Mr Fox opening itshave doors in the self-contained unit sports auditoriums and education as Plazamedia or NEP Australia, can be played over 72-zone doing extremely well here for many upmarket setting ofthe The Energy or integrated with facilities. which is considered many network courtesy theby LNM18 years.’ Building. The RMP installed any analogue or ofteam as the global benchmark ina IP message player, while DMH adigital Martin Audioconsole. speaker design digital mixing www.dnp-screens.com www.glp.de into the new with The Ki10 andestablishment Ki12

‘The convention hall is a 1,100m2 space with a height of 7m which can be divided into three subwhich features a coaxially loaded, rooms,’ revealed Maruedon ENGINEERED TO play back video media file transfer and project networked 3-inch diaphragm compression Bunphetcharat, sales atinfrastructure. higher resolution, new gooseneck live video driver. 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The BMB4 features also offers users a been choice ofchannels content in the same project, frame small footprint features side-located Sakulchoo. ‘We hope towith continue our free-standing models are inreceive regards to Lawo CEO Philipp this Computex 2018 Best powered, design.’ solutions across the entire site. www.mahajak.com controller has also deployed. an Ethernet port for 64 I/O quality using ‘industry-recognised synchronisation and with near-zero reflex ports to eliminate LF-induced business relationship SCB for in the same manner as Lawo, who suffered asmart stroke at a networked Choice Award in the retail Each room has been outfitted with of Waves SoundGrid connectivity. codecs’ and has ‘improved network latency. screen vibration. many years.’ the Merlaud 100V line speakers. the end ofafter 2018. ‘He participates www.aten.com category years of focusing Shure wireless microphone system With six BAD8s and four BDA8s, a Claudia Nowak bandwidth’ with dual 25GbE and Another new Outline loudspeaker on specially designed in activities and its further Placed www.computextaipei.com.tw onLawo’s improving the user experience including wireless receivers, 48x32 I/OULXD4D can be achieved. When www.disguise.one dual ports, is the10GbE Monaco 215 CXstrongly containing www.mahajak.com head of sales,the Jamie Dunn,’ Mr Fohhn stands, unobtrusive development and he ULXD2/SM58 handheld wireless configured with theenabling B80 andquicker B16 two 15-inchtoLF transducers, one of 2.25m Hilmer high revealed. aluminium cabinets confirms continue Lawo’s Motherships, the I/O possibilities In addition, theand supervisory 16 4-inch speakers further growth its successful are described asand limitless. A Martin Audio signature combining comprise CDD5 cabinets CSX112and board, at middle the request of Mr old Class-D amplifiers programmed corporate strategy,’ explained ceiling subs characterises Mr Fox 16 are in the of converting ADAM Audio A8X studio monitors. Lawo, has appointed thetheir to adapt to digitally BMB3 AndreasAsia Hilmer, of CDs to more modernsteer digital audio Stagetec alsodirector serves as www.burlaudio.com Monaco 215 CX ‘The URSA Mini Pro has spectacular short film. The film follows aunique young company’s authorised officer beams within lobby’s Apple iPod isthe predominantly used marketing and communications. wall-mounted CDD5 cabinets in formats.’ the Malaysian distributor for the dynamic coloursPhilipp and a architectural mother struggling toADAM balance her the Claudia Nowak as an additional characteristics. as main source. Meanwhile, ‘However, for natural his recovery all threerange, zones, while discretely ‘Wethe proposed the A8X German manufacturer. subwoofers further LF extension high rate’. said Mrwith Yam.the ‘It did son and work and colour director to the executive board. Having accrued a relies tax return, CLSPL ambience isif lifted during certain Lawo willvery take the necessary installed CSX112 ceiling-mounted active studio speakers toonour client ‘Weframe are satisfied is required. not overheat issues when and tones to reinforce the Ms Nowak, whose appointment has also the taxpayers evenings when either livenarrative. musical time. subwoofers enhance the lower they ensured absolutely loved them,’ audio qualityor ofgive the any speakers,’ said Two major software releases we were shooting the sun, soatwe The URSA Mini Pro captured 4.6K comes into effect on 1 April, has entering Revenues House ensembles or amanaging mobile DJare system ‘For the time ofinhis absence, frequencies throughout. Powered said Advon Tan, director Mr Johari, assistant engineer have also been announced: could focusresponsibilities on getting great shots.’ raw footage and DaVinci Resolve managed Lawo’s finance andv.93 audio reverb from the comprising Pioneer CDJ850 Philipp’s as by Powersoft Q4002 amplifiers, the spared or analogue –twin and will reportedly at Stagetec Asia. The Dante RTM Johor, when discussing the firmware forand the Newton digital Time commissioned asable part of software was then used achieve administration departments foron marble floors, walls andto glazing. turntables adigital DJM900 NXS II Lawo’s ultimate representative DSP inwas Mr Fox‘We is refined by way operate with any console connectivity A8X monitors. are now hub and for thein. Dashboard of Viddsee’s partnership with the desired visual mood. more than 30 patched years. mixer canv1.8.1 be towards our customers and ourin Martin Audio DX0.5isnoise processors www.adam-audio.com the market. available to identify unwanted inthe any remote control application. Singapore Filmbe Commission and markets will taken with all three zones. An ARX MaxiSplit www.stagetecasia.com via anyover format –we www.clspl.com.sg music material, especially when Fohhn LF-220 column speakers www.cpgfm.com.sg www.blackmagicdesign.com www.lawo.com marks the former’s first original www.ismaya.com immediate effect by our global distribution splitter provides audio Dante, MADI, ADAT www.mymixaudio.com vx 4 server www.rhemamultiperkasa.com control for both zones, for which an www.outline.it

A new generation of Ashly RTM Johor goes digital with ADAM High-contrast image projection URSA Mini Pro proves flexible and reliable on set myMix adds Dante compatibility

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

July–August 85 May–June 2019 PRO AVL ASIA 63 July–August 2017 PRO AUDIO March–April 2019 PRO AVL ASIA 25 11 May–June 2018 July–August 37 January–February 35 March–April 2018 95 November–December 2017

PRODUCTS

Bright eyes THE HY B-Eye is the first Claypaky light to be developed with Kling-Net protocol built in. Kling-Net is a plug-and-play control protocol developed by digital media specialist ArKaos and has been added to HY B-Eye to aid lighting design creativity and simplify the management and synchronisation of LED light parameters and functions. In terms of the light itself, the HY B-Eye incorporates 40W Osram Ostar RGBW LEDs, said to be twice as power ful as the

Another standing Ovation CHAUVET HAS added to its Ovation line of LED ellipsoidal, Fresnel and batten models with a collection of PAR fixtures. Available in RGBA-lime, warm white, variable white and UV, the PARs feature 16-bit dimming, a single-source homogenous light, RDM and variable pulse width modulation. All models come with interchangeable lens plates for medium and wide beam angles and accept standard 7.5-inch beamshaping accessories. The three nonUV variants feature a high CRI, which reportedly results in more realistic lighting for stage applications.

The P-56FC features the same advanced, full RGBA-lime colour mixing LED system found in the Ovation E-910FC ellipsoidal and can produce colours ranging from subtle pastels to punchy saturates, as well as nearly any temperature of white. The P-56WW is described as a bright, compact fixture with an output comparable to a 1,000W PAR 64 lamp. It is said to produce a homogenised, single-source, flat and even field of light by using the same efficient warm white LED system found in the Ovation E-260WW ellipsoidal.

GLP track-mount makes an impression GLP HAS released a compact LED moving head that includes a soft pencil beam, improved movement and continuous pan rotation for multifaceted 3D multi-beam designs. Now modified to fit into three-phase tracks, the trackmount version of the impression FR1 provides a solution for fixed installations. Using a single, high-powered, 60W, homogenised, RGBW LED at its core, the impression FR1 design features colour mixing across a vast spectrum, with a fuller range of colour temperature control. A 3.5–35° zoom range also offers full beam control over both short and longer throw distances. The impression FR1 also features 16-bit dimming and 16-bit position control through a range of 540° pan and 220° tilt. The FR1 has the ability of bidirectional continuous pan rotation at varying speeds, while critical features can all be controlled using the on-board menu via wireless DMX. Staying with the impression range, the impression S350 Wash has been launched as a partner for the S350 unveiled last year. It has the same high-efficiency LED white light source, with 350W of power. GLP has also extended another range of products. The KNV series

The P-56VW is an ellipsoidal that repor tedly produces nearly any temperature of white with high CRI and CQS. The PAR’s colour temperature can be even fur ther adjusted for ± green, while it features the same sixcolour LED system found in the Ovation E-930VW. Finally, the P-56UV produces a flat and even field of true (365nM) UV light with minimal projected visibility via a homogenised, singlesource LED.

LEDs found in the original B-Eye. It is described by Claypaky as an ‘extremely bright and power ful wash light’ with a 4–60° linear zoom and an automatic retractable lens when the projector is turned off. The HY B-Eye K25 has the same dimensions as its B-Eye predecessor and weighs 27.5kg. The K15 version is more suited to small stages – it measures 49cm high and weighs 21kg. HY B-Eye K15

www.claypaky.it

www.chauvetlighting.com

PR Lighting heads outdoors

impression FR1 track-mount version has two new members: the KNV Line and KNV Dot. The KNV Line consists of five single pixels in

a row, in which form factor is maintained 1:1, while the KNV Dot comprises a single power pixel (one white and 16 RGB) in a 2:1 form factor. Finally, the German manufacturer has devised Highlander, which consists of a 1,400W discharge lamp. With a 230mm diameter and signature baseless design, Highlander offers a large zoom range with a 5° beam angle and up to 63° smooth field angle with focus link. With a framing system (±30° blade tilt, fully lockable, ±45° rotatable) and a fast iris, the wash light weighs 29.5kg.

impression S350 Wash

www.germanlightproducts.com

86 PRO AVL ASIA July–August 2019

HY B-Eye K25

TWO NEW products, a luminaire and a PAR, have been launched by PR Lighting. Arc LED 1572 is an IP67-rated architectural luminaire with two independent heads. It features 72 Philips 15W, four-in-one LEDs (RGBW) with 50,000 hours of operating time and colour temperature linear adjustment with four individual areas of control. It has an input of 100–240V AC (50/60Hz) and a power consumption of 1,080W at 230V. Other features include an electronic strobe (0–25fps) and a linear dimmer from 0–100%. With a beam angle of 14° and a field angle of 37° x 57°, control is via the DMX512 standard and a three-pin interface. In standard mode, 10 channels are available, increasing to 23 channels in extended mode. A wireless receiver

Arc LED 1572

and transmitter are optional. The luminaire weighs 46kg and is housed in a high-tensile cast aluminium alloy. Meanwhile, the XPAR 543 is an exterior PAR with an IP67 rating. It’s equipped with 54 3W LEDs to provide RGBW single colour or colouring mixing effects. The PAR also comes with 50,000 hours operating time, 100–240V AC (50/60Hz), power consumption of 180W at 220V, electronic strobe (0.5–33fps), 0–100% linear adjustment, international DMX512 control, and six channels in standard mode and 11 channels in extended mode. Weighing 10kg, the PAR also comes in high-tensile cast aluminium alloy housing. www.pr-lighting.com

Thinking Inside the Box

N-APS

Ring Diaphragm Curved wave driver Dynamic Air Cooling Quick Release Grille Instafit Magnetic Couplers for dispersion characteristics Size - 518 x 200 x 358 mm Weight - 11.2 kg Power - 1000 W / 4000 W

www.codaaudio.com

FEATURES: LIVE SOUND

The Nature of Why cast and crew in Perth

In the round Image courtesy of Toni Wilkinson

Caroline Moss catches up with veteran audio engineer Simon Honywill about his latest production, The Nature of Why, which was recently staged in Australia SIMON HONYWILL HAS BEEN IN THE LIVE SOUND industry for 40 years, working on events such as the London 2012 Olympics and the Moscow Symphony Orchestra in Red Square, racing Russian helicopters around the mountains of Tajikistan with the Aga Khan, and as a touring FOH engineer for Goldfrapp, Katherine Jenkins, Jeff Wayne’s War of the Worlds, Chris Rea and Gary Barlow. He’s consultant sound engineer to the Glastonbury Festival, a product advocate for Martin Audio and teaches live sound at degree level. Honywill has just been working on The Nature of Why with the British Paraorchestra, which transferred to Perth, Australia, for five shows.

How did your involvement with The Nature of Why come about? I know composer Will Gregory through my work with Goldfrapp, and I had done a few shows with the British Paraorchestra. Will was asked to write the piece and he put my name forward as sound designer.

up with the sound system defining the shape and size of the performance space. Everything happens inside a 15m circle, and the entire thing surrounds the audience.

Can you explain the concept behind The Nature of Why? Will wanted to build the piece around the work of the American theoretical physicist Richard Feynman, a hero from his time at university. The Nature of Why consists of nine movements introduced by excerpts from an interview with Feynman discussing the question ‘Why?’ and all of its connotations. The musicians, dancers and audience are in the same space so that everyone is up close and personal – it’s very immersive. The performance area is so crowded that an audience member might be standing next to a viola player, yet still need to hear a percussionist who is hidden behind a crowd of other people on the opposite side of the stage. Creating an immersive soundfield where

What preproduction did you do on the show before it went live? We had several R&D sessions in Bristol before the first performance in May 2018 at Bristol Old Vic. Will had a few ideas that he sketched out for the musicians. Along with Charlie Hazlewood, musical director and conductor of the Paraorchestra, we explored how it was going to work. Charlie wanted the piece to have lots of depth and space; Will felt it should be reinforced rather than amplified. The initial idea was much more ‘linear’ – the players would be facing each other across the stage with the dancers and audience in between them, but that morphed into the musicians becoming totally involved in the choreography, and we ended

88 PRO AVL ASIA July–August 2019

Harriet plays a giant marimba covered by DPA 4099s as she moves through the crowd Image courtesy of Paul Blakemore

Simon Honywill you can hear everything and know exactly where everything is coming from, even when you can’t see it, was the main challenge. Of course, you shouldn’t point a microphone at a loudspeaker but, to achieve what we wanted, that was exactly what I did – I didn’t really have much choice.

How did you avoid feedback in that situation? To star t with I didn’t. It is crucial that I have the stage for sufficient time to ring the whole flown mic rig out using ver y tight filters, one mic at a time. The loudspeakers are aimed so the mics are just on the edge of the ver tical coverage. I hung DPA d:dicate 4011A cardioid condenser microphones in a circle over the per formance space, with two stereo pairs back to back in the centre so they covered 360° and the remaining eight around the edge of the circle at vir tual cardinal points of the compass. Each microphone was exactly 2.7m above the ground. In addition, the players are individually miked, all with either 4099s or 4061s. There is some innovative microphone placement – Guy, the horn player, has his mic fixed discreetly to his wheelchair, Harriet and Eddy, the percussionists, have extensive rigs and so we fix their mics to their wrists – they’re always near the source that way. Harriet also plays a massive marimba that moves through the audience; it’s covered by two 4099s as, at one point, a dancer lifts her away from the instrument while another dancer takes over the playing.

DISTRIBUTION NEWS: PROJECTS

FEATURES: LIVE SOUND

JPRO OPENS THE Zarza with Indian RCF distributor UNiKAopens appoints NBT increases DOOR FOR KEY DIGITAL Avid workflow Why did you choose to work with DPA mics?

the nearest loudspeakers to help with directional information for the listener. On top of this bed, I actively mix the close mics according to the conditions – lifting solos, highlighting elements, driving the percussion during one particularly DPA always me the results I want: predictable polar with three HDL 20-As per side, two some rhythmic improvised section, and giving the piece INDIA: UNiKAgives has appointed system based on Dante. It has patterns and accurate, uncoloured matching response V 218-S subwoofers, a QPS 9600bass.become the trend in the field of weight with the strings and the mobile double Sonotone Audio as its new between each microphone was really important, as I am amplifier and a BSS 100 CL5, andaudio I use the 5.1 bus topology of theBLU Yamaha routeinthe NEW ZEALAND: Key Digital, a distribution partner to capture the 21st century. UNiKA’s THAILAND: tomanufacturer edit a varietyof ofdistributed file types, video and dealing with a challenging threshold of feedback. They give DSP processor. The much-needed outputs accordingly with an extra pair of matrix outsNBB derived the Indian market. The Taiwanese productNational system Broadcasting has been Services (NBT) Pro Tools hassystems been added to the me a very even punch of Rs theto sound from L and Ls, R and drive is theachieved speakers at the 90° andof and control equipment manufacturer willsoundfield, primarily and a sound I really like, which validated in Thailand many ways andhas is upgraded an Avid workflow audio team’s arsenal. is whyonI use them all time. Any DPA is my first choice of without pinching or unwanted 270° positions. The any L–C–R is upstage and the surrounds for professional applications, focus launching thethe NBB in line withtoSonotone’s futurethat covers storage, and video ‘It’s for usJPro to remain microphone. at the venue.’ either side ofloudness the strings. With an iPad, I can go intodevelopment the graphics, has vital appointed as its series products based on Dante strategy, particularly and audio as welland as responsive established by in the spacethe audience andZarza followwas the players around asNBB-1616 they editing distributorto in technological New Zealand. change throughout India. withtools, 16 inputs the outputs, MediaCentral to help our coverage achieve and wifeThe team and move. I call ithusband sonic stalking. mixKomal position is meaningless Key Digital was founded by its full Established in 1978, the audio 16 24-bitplatform. conversion NBT has MediaCentral creative potentialwho andled streamline Shailendra Lalwani. Mr Lalwani as it is by default outside of the bubble, so it’s either this or aused Mike Tsinberg, the team and cinema distributor currently rate and sampling rate up to One of the London performances at the South Bank Centre Newsroomsaid Management to director, support processes,’ said the Chatree involvedon in what’s every aspect of at the time. headphones,was depending going on that developed DVD. He is a works with a network of dealers 192KHz,’ Sonotone’s Image courtesy of Paul Blakemore production since 2010. The Seangsuk, chief ofand Studio at NBT. project. ‘Zarza is a whole new fellow of SMPTE has 2 earned across 21 states in India. ‘Having Karan Nagpal. Simon Hsu and Nina Chang of UNiKA,the Karan Nagpal of Sonotone and Hera Hua of UNiKA shows it was really rocking, but the sound design hasn’t broadcaster has added the Maestro ‘Avid’s news production solutions experience for the guests and to more than 40 patents for his been our second biggest supplier, Any other vital pieces of gear that changed much as yet. Myhave next move would incorporate Virtual Set, which can be coupled acted asIt the nerve centre of install the bestexcited sound about system, we www.sonotone.in inventions. wasbe MrtoTsinberg’s I am very impressed with the products and am delighted to be am especially their helped commissioned you achieve what you did? systemcamera like Astro Spatial and fit everyone withvideo RF with Xync 2.0 ainfrared our production fortrackers, years. thetransmission RCF speakers,’ www.unikapro.com credentials in workflow digital that, remarkable quality of UNiKA representing their brand in India. I NBB digital audio INDIA: Zarza, a nightclub and and maybe get some height the equation. ‘We tried to understand the tracking, providing the ability to After a detailed review, we’re he said. ‘They proved their worth inspeakers part, led into JPro to partner Now the here’s at a thing – at the lastwhere showRaghu in Perth I thought I restaurant in Dreamax Plaza, client’s requirement, designed create photorealistic environments. confident upgrading Avid the launch party with Keythat Digital, as well with as the CL5’s integral Dan with Dugan Jaipur, has opened with sound audio system’s placementwould and try using Meanwhile, the MediaCentral Cloud will help to ensure we’ll continue Dixitthe headlined the evening an automixer quality and reliability of the What were the challenges and theapt flownenthralling mics. It was designed for music reinforcement from an RCF sound found that RCF’s HDL 20-Aon was UXand content searching interface has elevating our programming livenever performance.’ manufacturer’s products. to delights of and working with the work, but really helps the flown mic rig do its integrated job. system supplied and installed for Zarza,’ explained Kallolshouldn’t Nath, been with FastServe inform, excite and keep ‘It was essential for usour viewers www.hitechaudiosystems.com When isn’t in use and people are rehearsing or to increase by distributor Hi-Tech Audio systems application engineer at the stage Avid Nexis workflow engaged.’ Paraorchestra? to partner with a company www.rcf.it talking it sounds ridiculous but, once there is a constant Systems. Hi-Tech. ‘The venue is installed efficiency. Media Composer is also that manufactures reliable, worked on a more joyful show, and the signal band www.avid.com flowhere of music, it highlights the bits that are loudest, used to allow I’ve the never production teams MALAYSIA: Concept Audio has The majority of spending power superior-quality digital members are all exceptionalproducts talents.where As a sound engineer, been appointed as the new falls under middle and entrybalances market the level across other channels and holds the high-end video skills are used, rest back, helping the directional aspect work better. I must it is crucial that appropriateispersonal Powersoft distributor for Malaysia. levels, so most clients are looking required,’ explained JPro particularly when working with thoseBruce who are sight have gained 6dB as a result. Who knew? The addition of Powersoft adds an for the best possible products on an director, Gray. ‘Keyimpaired Digital – you have to describe everything. hasexceeds had a profound amplification brand to the Concept affordable budget.’ meetsItand this by effect life perspective. Watching and and manufacturing Horn player Guy’s DPA mic was discreetly fixed to his Has the show varied depending on the on me and has changed mydesigning wheelchair hearing people play and perform with what we would perceive superior quality, leading-edge venue, and does it build over time? KOREA: Shure served as the as massively difficult sensory problems is truly moving, and solutions.’ official audio partnerspeakers? at the 2019 yet for them it’s a walk in the‘We park. Takashi, the viola have confidence that player, this What about It is developing musically every time we do it and the band WeWork Creator Awards, supplying has been blind since birth, partnership and has to be of the most willone provide added TheAxient loudspeaker system consists gets more and more comfortable. By the end of the Perth an Digital wireless solution of seven positions placed sensitive and beautiful players I have worked value and open up with. new business CHINA: China Central ‘In addition to the Furio at 45° intervals around thewith performance space. There would and conferencing systems ASIA: Aurora Multimedia, a more markets with Mindstec opportunities for us and for Television (CCTV) employed camera motion system, be eight, but one is left out for simultaneous interpretation andthe 11-piece string section, US manufacturer of IP control Asia’s localised service support,’ ourthe customers,’ addedwhich JPro’s Can you describe Australian a vast array of RossCEO Video is sales now adirector, regular fixture of CCTV which is placed centrally downstage. language distribution for the event Four subs are placed on systems, touchpanels, HDBaseT explained Paul Harris, of Paul Edlin. ‘Key show forforme? vir tual studio solutions its programming, this event the downstage and upstage corners. So far I have got great at Seoul’s Dongdaemun Design and IPBaseT IP video distribution Aurora. Digital makes lifeyear’s easy for AV The Concept Audio and Powersoft coverage of this year’s Spring used a mixed-reality solution for results with EM Acoustics in Bristol,teams and for the Perth shows Plaza. solutions, has appointed Mindstec ‘We have many advantages when integrators by designing and We This played fiveinshows in the Heath Ledger Theatre asdigital part of included theproviding first time, featuring nine of we used theawards, d&b Y-Series point source. Concept The essential is During the finalists make Audio distribution portfolio, which Audiothing will primarily Asia to serve as its representative it Festival comes toGala. selling [Aurora] industry-leading theon Perth Festival, three days insystems rehearsals before visual stage, suchand spent ourvideo Unreal-based across that final the speakers have response to enable their pitches the excellent judges phasetarget includes pro audioto heavyweights universities and government across China, Hong Kong, Macau, terms of effects our distribution network solutions and enterprise the first show in the in-house rehearsal space. It’s not as marketing augmented reality andsaid multiple locations,’ confirmed me toasget much gain the overhead mics as possible. in front ofClear-Com, aaslive audience in the such JBL, from Nexo, departments for Powersoft Taiwan, Japan and South East and capabilities,’ AVoIP. JPro understands the a large theatre, but that’s asVideo we only the stage. animated graphics elements Ross director of sales forThe 1,500-seat main hall. Capturing Pioneer, Quest Engineering, Shure installations. Asia. As well as supplying Aurora Harry Lam, CEO of Mindstec Asia.irrelevant importance ofuse education and speaking guests requiring English house crew were exceptional and we were made to feel very from the manufacturer’s APAC, Andrew Tan. ‘Ross Video these pitches, as well as the hosts used for speech reinforcement in and Yamaha. ‘Education in this stage is very products across these regions, ‘We are setting up Aurora training training for integrator success When it came to content, what were translations. interpretation welcome. What was particularly gratifying was the audience rendering solution based on is and, extremely proud and honoured and werethat 24 Powersoft channels WeWork’s before ‘Wejudges, discovered important,masterclass and we intend to the Mindstec willThe also offer local sales, centres, which will train, certify as such, we will provide you working with? and infrared distribution reaction –4they absolutelythat loved it and embraced the with ethos of Epic Games’ Unreal Gaming CCTV chose toincluding partner of Axient Digital UHF-R awards amps would alsoand be the most conductceremony. more product introduction training andlanguage engineering support. and empower our channel partners ongoing training the system was byof years, involved much more readily than the audiences andgetting the Furio camera usKey andDigital used our solutions andin the systems usingfor a mix handheld Meanwhile, Shure deployed flexible option our customers, events and training seminars During thesupported past couple toEngine, better understand and support control solutions I had lotsaudio of direct sounds play with,DCS6000 well to assimultaneous the conferencing equipment rental in UK, who have tended to be a bit hesitant. There was great motion system, which enabled technologies to enhance the aon-air and bodypack transmitters. given the products we toAxient inasorder promote brand Aurora has focused its efforts Aurora products.’ certification.’ ambient sound from the d:dicate The ambient mics company Channel Media. dealthat of dancing runthis of shows felt show.’ fantastic. camera moves would and not the whole look for important Digital also captured musical interpretation and DIR language distribute already,’ revealed Castrit4011As. awareness,’ Mr Lim continued. Asia by penetrating the Indian and formsales a beddirector andbygive audience of something have been possible with human performances Korean artists distribution solutions with www.auroramultimedia.com www.jpro.co.nz Lim, of the Concept Audio.a sense Korean markets. ‘[This] agreement Two stereo pairs of DPA 4011A cardioid mics suspended www.shure.com changing walk Son, into the is space. It’sdigital a bit like operators. www.dpamicrophones.com www.rossvideo.com Eric Nam, Ailee, Mommy 600 wireless receivers www.mindstec.com www.keydigital.com www.conceptaudio.com.my ‘We believewhen that they the install market can bring Aurora above the performance area products into www.paraorchestra.com www.we.co a subtle bubble. mics are routedfor to non-Korean and Hyolyn, while UHF-R also Themade available Image courtesy of Paul Blakemore www.powersoft-audio.com aentering main growth areaacoustic for ourwas country.

Concept Audio powers up Shure aids pitches for CCTV takes Ross WeWork creators Aurora advances to the Spring in Asia Festival Gala

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FEATURES: INSTALLATION

Performance piece The Tata Theatre has five separate seating areas, each covered by Meyer Sound UPQ-1Ps and UPJ-1Ps

Mumbai’s National Centre for the Performing Arts (NCPA) is now in its fifth decade, having just installed Meyer Sound systems into its two main theatres. Caroline Moss reports

L–R: Meyer Sound’s Sandeep Braganza with NCPA’s Nayan Kale and Ashwin Jyoti

90 PRO AVL ASIA July–August 2019

FACING OUT ACROSS THE ARABIAN SEA ON NARIMAN Point in South Mumbai, the NCPA was the first multi-venue, multi-genre cultural centre in South Asia when it opened in 1980. It was built to fulfil the vision of two men: Dr Jamshed Bhabha, a committed supporter of the arts after whom one of the largest performance spaces in the complex is named, and JRD Tata, a prominent member of the Tata industrial dynasty which is known for its patronage of the arts. The origins of the NCPA go back to 1966, however, when the two men opened the Bhulabhai Desai auditorium as a temporary venue while land was reclaimed from the sea that would provide a permanent home. Bhabha and Tata had a vision of providing India with a world-class performing arts centre that would fulfil the dual role of preserving and promoting India’s rich cultural heritage and providing a platform on which to stage productions from around the world. Arts patronage had been shrinking since Indian independence as the country embarked on building a new future. Bhabha grasped the importance of securing funding to ensure India’s cultural traditions were able to continue and thrive, simultaneously providing a suitable venue for hosting international performances. When the land reclamation project was complete in 1974, the NCPA moved to its current location. Here, the extent of Bhabha’s success is evident. An ever-growing range of cultural programmes ranging from traditional Indian classical per formances through Western classical

music, opera, jazz and drama to newer genres such as EDM events, are staged regularly in the venue, which incorporates five theatres in addition to galleries, libraries, reception spaces and restaurants. And the NCPA is home to the country’s first and only professional orchestra – as well as being the only Indian venue able to accommodate it – the Symphony Orchestra of India (SOI), which was established in 2006 by Kushroo Suntook, the current chairman. The two largest theatres are the 1,010-seat Tata Theatre and the 1,109-seat Jamshed Bhabha Theatre. Both of these theatres were designed by leading acousticians to support opera, classical music and theatre without the need for amplification, and, indeed, the venues have become known for their acoustic qualities. Times have changed, however, and the arrival of contemporary concerts and musicals has brought a demand for sound reinforcement. The venue had been hiring in systems from local rental companies, which was not only costly but brought issues of inconsistency and cluttered sightlines. The search began for a solution that would provide consistent audio quality with a minimally intrusive visual profile. The chosen solution would need to support the varied performance schedules of each theatre, while maintaining an aesthetically pleasing appearance. It was also important that the system commissioned could produce an uncoloured sound, and a further consideration was that local technical support would be readily available

FEATURES: INSTALLATION if and when required. Ultimately, a decision was taken to install both theatres with systems from Meyer Sound, provided by Sun Infonet. The NCPA was familiar with the US brand as systems integration company, Image Engineering, had installed a Meyer Sound Acheron cinema system into a small space in the venue in 2016. ‘Image Engineering showed me a theatre at the Bandra Kurla Complex in Mumbai and I went and experienced it there,’ says Nayan Kale, general manager, technical, of the NCPA, who has worked at the centre since 1982. Kale was impressed with the system’s performance in the low-ceilinged space, previously a storage area. In addition, Meyer Sound had also been encountered by the SOI on some of its overseas performances. Image Engineering supplied and installed the system, with the company’s Nainesh Vora handling project management, while London-based Richard Nowell was project consultant for both theatres. The older of the two venues to be installed is the Tata Theatre, which opened in 1980. Designed by postmodernist American architect, Philip Johnson, with an acoustic design by renowned US acoustician, Cyril Harris, it is used for

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Auditorium of the Jamshed Bhabha Theatre staging a wide range of music, dance and drama and cultural programmes for state guests and visiting dignitaries. Specialising in Indian classical and chamber music and drama, artists to appear at the Tata Theatre over the years include Ravi Shankar, Yehudi Menuhin, Ustad Vilayat Khan and M S Subbalaxmi. The design brief for the theatre, embraced by architect and acoustician alike, was to ensure that every individual musical instrument played in any ensemble could be heard and appreciated throughout the auditorium. Additionally, the external structure of the Tata Theatre complex has been acoustically insulated from outside interference such as road traffic and sounds from construction and maintenance activities by separate pile foundations down to the rock base. Harris designed the Tata Theatre in a semi-circular thrust configuration, which keeps the audience close to the stage

9:42 AM

Orchestral performance in the Jamshed Bhabha Theatre

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July–August 2019 PRO AVL ASIA 91

FEATURES: INSTALLATION The original construction of this theatre had just reached completion in 1997 when a fire broke out, destroying the new venue. ‘We started rebuilding the next day, and we did a much better job than before the fire,’ remembers Kale. ‘Lots of wood was used in the original design, but a different acoustic designer, Dr S Rajagopalam, came on board and used much less wood.’ Despite this major setback, the Jamshed Bhabha Theatre still managed to open its doors in late 1999. The proscenium-style theatre has been installed with 10 Leopard speakers and one 900-LFC subwoofer per side. ‘The length of the auditorium that we had to cover in the Jamshed Bhabha Theatre is much greater than in the Tata, so the Leopard line array system ensures good coverage right to the back,’ says Braganza. ‘We worked with input given by Richard Nowell and the NCPA team to figure out some dead spots that we were able to cover in the design process.’ This includes a UPQ-1P per side to provide front-fill, seven UP-4slims for near-fill and a delay system of a further UPQ-1P per side, with delay-fills of one UPM-1XP per side. A pair of UPJ-1Ps provide monitoring at the front of house

Meyer Sound Leopard line array system in the Jamshed Bhabha Theatre in order to interpret the subtle facial and body movements and footwork that are an essential part of Indian classical performances. His ceiling design consists of alternate concave and convex tetrahedrons, which together with the wall panels ensure an even distribution of acoustics over the entire auditorium. Constructed from high-density compressed plaster, these tetrahedrons were individually cast by hand and manually lifted up into their positions. ‘Cyril spent six months here attending shows around the city to understand the requirements of Indian classical music,’ explains Kale. This research informed his design to bring the audience close to the performers, as well as achieving a lower reverberation time that would normally be provided for performances of Western classical music. ‘We decided to go for a 1,000-seat auditorium with no amplification,’ says Kale. ‘Sightlines were very important, so, instead of a proscenium, we went for a fan shape.’ Consequently, the distance from first to last row is just 15m, half that of the Jamshed Bhabha Theatre, which is almost the same capacity. The Tata Theatre’s distinctive acoustic design posed a definite challenge when it came to installing a permanent audio system. The sound needed to be distributed evenly, without disturbing the tetrahedron shapes that define the theatre’s acoustics and ambience. ‘I didn’t want to have to puncture the ceiling very much, so we needed to determine the exact location and the correct dimensions of each speaker to be installed,’ says Kale. Meyer Sound’s MAPP prediction software was invaluable in designing the system prior to installation. AutoCAD drawings of the theatre were sent to Meyer Sound in California, whose design team worked on determining an accurate prediction for the theatre. ‘MAPP allowed us to design the system with a huge amount of precision,’ says Sandeep Braganza, Meyer Sound’s Mumbai-based sales manager, SAARC. ‘Of course, we have total conviction when it comes to MAPP, and this turned out to be a best case example; we were not even an inch off from the software prediction when it came to the actual installation.’ It was so accurate that Vora and his team from Image were confident in planning their cable runs throughout the heritage building in preparation for the speaker installation. The system has been divided into five, with one UPQ-1P self-powered wide coverage speaker and one UPJ-1P selfpowered speaker with Vario rotatable horn covering each of the seating sections. ‘We divided the system into five zones based on the seating layout; it’s as good as having

92 PRO AVL ASIA July–August 2019

NCPA International Jazz Festival 2018 in the Tata Theatre

Nakshatra Dance Festival 2018 a discreet system for each block,’ continues Braganza. ‘This has achieved a very even response; something which wouldn’t have been accomplished using an L–R system, which was what the rental companies had been bringing in.’ The system also has the distinction of adding no colouration of its own, providing the blank sonic canvas that was so important to the NCPA for both venues. ‘As our per formances range from jazz to rock to pop to classical, it was important to go for a system that doesn’t have a tone,’ says the NCPA chief live sound engineer, Ashwin Jyoti. ‘Engineers have so many options on the console now that they can colour the sound as they wish.’ The Tata Theatre system, which has been provided in a custom colour to blend in with the theatre’s décor, has been suspended from a bar installed around the front of the stage to minimise drilling into the ceiling. Additional front-fills have been provided in the shape of five UP4slims. A Galileo Galaxy 816 provides system control and alignment, while an RMServer handles remote monitoring and Meyer Sound’s IntelligentDC power supply, MPS488HP, routes DC power to the system. A classic L–R Leopard compact linear line array system has been installed into the more contemporary Jamshed Bhabha Theatre, which opened in 1999, and remains the only Indian theatre that can accommodate a symphony orchestra. Built in the traditional proscenium style, the entrance to the Jamshed Bhabha Theatre is adorned with an elaborate Carrara marble staircase, which was removed from a nearby palace and donated to the NCPA.

position, while, again, a Galileo Galaxy 816 provides system control and alignment and an RMServer handles remote monitoring. Power and signal distribution for the Leopard system is via four MDM-5000s, with two IntelligentDC MPS488HP power supplies routing DC power. An Avid S6L mixing console has been provided at front of house in both theatres, together with Shure ULX-D wireless microphone systems and a good range of classic handsets such as the AKG C411, Shure SM57, SM58, SM81, Beta 98 and Neumann KM184. There are also around 30 d&b M4 stage monitors in use across the centre. The theatres were operational by October 2018, and the newly refurbished Tata Theatre was able to host the annual NCPA International Jazz Festival last November. ‘The new system made a massive difference this year,’ says Jyoti, who was working on the festival for the third time. ‘Apart from the sound, a lot of the production people noticed that the Tata Theatre looked so much better, without rental equipment cluttering up the stage. It was so much cleaner. ‘Previously, I had to deal with outside vendors to rent in different systems, and field complaints that the sound was too loud or unclear. Now we have consistency; every seat gets a good level of sound. Before, if you were sitting in front of the system you got blasted, while people at the back couldn’t hear.’ ‘One of the best things is that the new system reduces set up time,’ adds Kale. ‘Gone are the days of hiring equipment, the transport costs, the set up costs and temporary systems involving unsightly equipment and lots of loose cables.’ Now well into its 50th year, the NCPA isn’t resting on its laurels. A further theatre, which will provide a mediumsized venue for the centre, is in the initial planning stages. And, according to the in-house technical team, there will be no question of not installing a permanent system into the planned new venue. Staging an annual total of around 500 diverse events, the NCPA is certainly fulfilling the vision of its founder members. One can only assume that Messrs Bhabha and Tata would approve. www.iemumbai.com www.meyersound.com www.ncpamumbai.com www.suninfonet.net

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THE CHINESE CITY OF SUZHOU IS KNOWN MORE FOR ITS traditional gardens, nine of which have UNESCO world heritage status, than for its sporting facilities. However, the new Olympic Sports Centre could be set to change that. The sports centre, designed as a new city landmark, is based in a zone built to consolidate all of Suzhou’s sporting facilities in one new area, including the existing stadium which will be relocated from downtown. Sound systems for the sports centre’s three main venues, some of which will also stage music events, have been provided by Bosch China. Built to a design by German architectural practice, Gerkan, Marg and Partners, the Suzhou Olympic Sports Centre takes its cue from the Chinese landscape gardens that populate the city. A 47-hectare, publicly accessible landscaped park accommodates extensive sporting facilities as well as offices and a shopping mall. The three main sporting facilities – a 45,000-capacity stadium, indoor arena and aquatic centre – have been equipped by Bosch in a tender that was won by Hangzhou Tianlong Audio. According to the brief, all three venues had to meet the most stringent of standards to ensure the project got top ranking among Chinese sports facilities and is able to host international sporting competitions and other events. Xianghua Zhou is one of the proprietors of the systems integration company, which is based in the nearby city of Hangzhou. Sporting facilities are becoming a bit of a speciality for the company, which recently completed work on the Shanghai International Circuit, the venue for the annual Formula 1 Chinese Grand Prix. Hangzhou Tianlong Audio was employed on the Suzhou project as a subcontractor, working for the main contractor to provide and install the audio systems. The main structures of the buildings were already in place when Zhou and his team started work in the summer of 2017. This included the stadium, which has the distinction of being constructed with the first single-skin steel cable network roof in China. While the visual aspect of this roof gives the stadium a distinctive and striking look, the practicalities of flying a powerful sound system from it presented some specific challenges. There wasn’t much that could be done about movement in the roof caused by heavy winds, which can add a swing range of up to 1m, but the effects of other

94 PRO AVL ASIA July–August 2019

Going for gold

While a new Chinese sports centre is providing a platform to take Olympic events to a new level, its Electro-Voice sound systems are doing the same for audio. Caroline Moss reports from Suzhou

L–R: Hangzhou Tianlong Audio’s Xianghua Zhou and Bosch China’s Scarlett Shi

extreme weather conditions have been mitigated by the installation of Electro-Voice EVH weather-resistant speakers which have been mounted on the lip of the roof. The speakers have been supplied in white, so the aesthetic qualities of the stadium roof have not been spoiled in any way. However, the main challenge thrown up by the special roof was that it wasn’t capable of bearing very heavy loads. This caused problems, as the tender specified that all speakers should be capable of being derigged for maintenance at any time. Hangzhou Tianlong Audio worked closely with the Bosch team to come up with a solution for this. Their first design included lifting mechanisms to be flown at each point, but this would have added too much weight to the structure. The company played around with the design, changing it many times before finally hitting on an ingenious solution: they would design their own piece of lifting equipment that operates from the ground. Two such systems have been built and supplied, allowing the loudspeakers to be lowered to the ground by means of a motorised winding engine and raised back up on wire cables wound around a winch. This method of installation was inspired by the London 2012 Olympic Stadium which, like Suzhou, has a cable-supported fabric membrane roof, covering approximately two-thirds of the audience area. The London stadium is installed with Electro-Voice EVH speakers, which have also been used in Suzhou. A total of 80 EVH-1152S full-range, horn-loaded speakers have been installed on 40 rigging points around the perimeter of the roof, in alternate groups of three and one;

PRODUCTS BUSINESS: REVIEW FEATURES: SHOW INSTALLATION

Big sound, small size

the trio of speakers covering spectators the stadium Naturally, CCD did not want tothe incorporate any technology into 8.3m in height, the combined ballroom comprises 18 JBL ‘On an international are level, inserted we meet with new up tocustomers 20inopenGear every cards Located in hall N3, Verity/SAE has attended the show seats, andare themainly singleconnecting oneswould – for 20Mac, in total –developed projecting sound the ceiling that distract from the exquisite year8.23m-high who looking products PC and server inputs and almost every year, with SAE showcasing what it describes 321CT coaxial models, 12 of which are flush-mounted into outwards onto theChina.’ playing field. The system was designed chandeliers. Suspended on BNC, two Global Truss audio white supports manufactured in over twisted-pair and fibre as ‘the most powerful 4-channel amplifier in the world’ – the the corners. 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The MX8, of MX12, life as we try out different configurations for events that we Yamaha TF1 digital consoles provide dedicated mixing column arrays digital consoles. ‘We5000 think toline the Bowl PA. A further twoand channels Sennheiser Shanghai Newreturn International blackused and white, the P6.2 series also inches. C6.2 is a two-way, MX15 andavailable MX15HD The stadium isinternational mainly being used for football matches, sporting applications, its secondary purpose being for would never had stagedwith before.’ As clients following the options The for all varieties of functions. ‘Having an analogue there are more visitors attwo-way this show, but less microphones are forare on-field announcers. Audio Venue: Expo (SNIEC) and theevacuation MX15 full-range a includes a 30Watransformer with passive systems. The and has become homecoaxial aZhang local team. Additionally, and emergency andvisitors’ otherCentre announcements. six months’ downtime, the book is now awash with board for ceiling so long,speaker it seemswith so much simpler operating digital domestic customers,’ said Jie, is assistant to at LF driver, distribution to the back oftohouse zones relayed viaGM a12-inch Q-LAN both a 156.5-inch woofer and 1-inch HF ananalogue 8Ω bypass option, and I/O is MX832 incorporates an 8-inch, low-toCentre befitting its name, the Suzhou Olympic Sports When the stadium hosts rock concerts, as well praise. But Pum and his colleagues realise however, that the hotel will as control surface,’ comments Pum. ‘I think operators Soundking. equipped with AES3 inputs and outputs andand fromMX15HD the Totalhouse exhibitors: 650 inch LF driver.never Theprotective MX12, driver. Both ceiling models have as theyUL1480A and CSA frequency driver mounted inOlympic a also B6 be can alsothe accommodate all the different sporting the that rapid is applied to the pitch and the rest on MX15 itscovering laurels with changes in technology and are more professional, however, mix with their ears.’22.2 No. It205 was second yearXLR that Ruifeng Intelligence attended production patch panel. connections can patched Attendance: 30,492 and MX15HDcityscapes. all incorporate for indoor and outdoor the same diameter are as the enclosure a 2-inch diaphragm activities, aitsNeutrik track the stadium pitch forAES3 sports stage erected in the centre, the audio system is expanded The L-R ballrooms onlyexisting 0.25m andcertified 0.5m shorter in width the show, with own circling RFand brand as well asaccepting products from through thewith main Bantam patchbay a 3-inch ferro-fluid Evid ceiling speakers. Sold by use. ferro-fluid cooled compression such as and running, hurdling, jumping and throwing events. with the addition of a portable Dynacord Cobra-2 compact than8-inch the central room. When divided the new acoustic German manufacturer, Voice Acoustics. ‘Though there are diaphragm inputs outputs. A mobile production rack www.prolight-sound-shanghai. in the OB compound is outfitted cooled driver. All four in andthese available incan white, driver. The MX12 acabling Contact: The stadium’s PAyear, system, therefore, find line array system, which can cover entireand venue, working www.conradbangkok.com partitions, rooms an L-R JBL two-way less visitors PLSS isSpot aprovides good show formost us asof Music ALight multicore fibre and baseband copper network Anpairs EV RE-20 microphone iseither usedrely for on commentary and MX8-amp Six Skythis Moving Beam LEDwill moving heads are compression with Yamaha Dante RI8 and RO8-Dthe frames routed to hk.messefrankfurt.com Stage Tecteam Auratus Platinum the stadium control room www.electrovoice.com both asystem 30W transformer announcements The include SAE fixed toisintwo Truss supports its use providing background music and speech forShiping. www.intelcraft.com together with the installed system. This portable system has the CL5 console point source or a ceilinginspeaker solution. Measuring China also on,’ managing director, Zhu connects theGlobal localcommented patches in the primary and secondary

EV expands Evid family

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March–April 2019 PRO AVL ASIA 67 May–June 2019 July–August 2019PRO PROAVL AVLASIA ASIA 103 95 July–August 2018 PRO AVL ASIA 101 November–December 2018 PRO AVL ASIA 127

FEATURES: INSTALLATION been used for a popular TV show, Running Man China. Large touring productions may often choose to bring in their own systems, however. In one of the distinctive, curved buildings that makes up the sports centre is a gymnasium, or indoor arena, with 8,000 fixed seats that can be expanded with portable seats stored underneath them to accommodate a total of 13,000. This venue is approved for CBA (Chinese Basketball Association) league games, the first-tier professional basketball league in China, of which Suzhou boasts a local team, the Jiangsu Kentier Dragons. The gymnasium can also be used for other sports, such as badminton and curling. According to CBA requirements, a cuboid LED screen has been installed in the centre of the gymnasium which can be raised and lowered. So, this presented the main challenge when it came to installing the Electro-Voice X2-212/90

One of the distinctive curved buildings that make up the Suzhou Olympic Sports Centre

The indoor arena’s CBA-regulated LED cube and Electro-Voice X2-212/90 speakers high-performance compact vertical line array system. ‘We needed to avoid hitting the LED screen and, by using EASE to predict the system design, this was a straightforward job,’ says Zhou. A total of 70 X2-212/90 speakers in black have been installed here, divided into six hangs of eight and two of 11, both flown in the centre of each of the long sides of the gymnasium, where they can focus more energy on the VIP seating areas. This venue can also be used for musical events – a recent Jacky Cheung concert was held here – with a stage erected at one of the shorter sides of the gymnasium, above which a lighting rig has been fixed. Again, the sports centre’s portable system can be deployed here if necessary, but,

quite often, supplementary equipment will be brought in by the production itself. However, Zhou is impressed with the capabilities of the installed Electro-Voice system. ‘For concerts, you definitely need to add subs in here of course, but this model is compact and powerful and has a very good performance at the low end,’ he says. Amp rooms on each of the long sides of the venue are installed with Electro-Voice TG7 3,500W/ch amplifiers, and again the signal is transmitted via Dante. Up in the control room is a further Stage Tec Auratus console, while a Shure radio mic system is in use here as well. Over in the 3,000-seat aquatic centre, which houses two swimming pools, two separate speaker systems have been installed, one for spectators and the other for the swimmers competing in the main pool. ‘They put on water ballet, so they needed to have an underwater system,’ explains Zhou. Six Electro-Voice UW30 underwater speakers in white have been installed along each of the long sides of the competition pool, 1.2m below the surface. Hangzhou Tianlong Audio constructed special boxes with a grid to contain these 12 speakers, which have been hardwired into the pool via conduits that run below the poolside and up into the amp rooms, and are networked via AES digital cabling. Electro-Voice claims that these speakers are able

to offer a fast transmission speed underwater courtesy of the patented structural enclosure which acts as a sound transducer. This waterproof enclosure also ensures that no metal parts are exposed, increasing the longevity of the speaker and allowing it to operate in deep water.

DiGiCo S21 console in the control room of the aquatic centre The audience system for the competition pool consists of 20 Electro-Voice EVH-1152S weather-resistant speakers, which have again been supplied in white to meet the high standards required for the installation. A cluster of three of these has been flown in the centre of each of the long sides of the pool, facing downwards to cover the audience. To the right and left of these central clusters are two further clusters targeting the audience, each consisting of two EVH speakers, while single speakers at either side of these focus on the pool itself. Up in the control room, all sound sources – mainly prerecorded music for swimming competitions and water ballet, plus announcements – are run from a DiGiCo S21 compact digital console, with a Yamaha MGP24X installed for backup. Again, a Shure radio mic system has been provided here. Outside in the commercial plaza, an ice rink in the shopping mall is covered by a sound system of Dynacord VL Series loudspeakers, which plays music for the skaters. With the addition of its new Olympic facilities, Suzhou’s ambition to develop a new sporting zone is well and truly off the starting blocks. www.boschsecurity.com.cn www.digico.biz www.shure.com

EVH-1152S speakers in white meet the necessary high standards for the aquatic centre

96 PRO AVL ASIA July–August 2019

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FEATURES: INSTALLATION

Setting the stage

Caroline Moss visits Real-Live’s newly opened one-stop shop for musicians in Shanghai which includes a K-array-equipped venue, VAS Live CHINA’S RELATIVELY NASCENT MUSIC INDUSTRY HAS been going through a major evolution in recent years. A new wave of companies is emerging, offering up-and-coming talent a complete path, from management to recording to live performances. This focus on the bigger picture is a refreshing approach to music, nurturing new talent by providing a platform to release and promote albums as well as hone live performances. One of the latest players to embrace this holistic way of working is Real-Live, which took over an entire old cinema building at the end of 2017. Real-Live had already been operating as a production and artist management company as well as a record label, and was primarily looking for new premises in which to build a studio and rehearsal space. ‘We work with lots of bands on their recording, preproduction and rehearsal, and we needed space somewhere downtown, so people could come in quickly and get ready for their shows,’ says Li Zhan, CEO of Real-Live and VAS Live. The old cinema, however, gave them opportunities they hadn’t initially considered. It was in a good location, on a main thoroughfare near the Jing’an Temple, a well-connected district known as an entertainment hub with its many bars and clubs. However, the old cinema had fallen into disrepair. ‘The Chinese market wants everything to be new,’ muses Li. ‘But we knew what we were looking for and we thought it was a really good opportunity to take over part of the building and renovate it. It’s very accessible and easy for people to get here. Then the owner asked if we’d be interested in renting the whole building, so we decided to expand our enterprise.’ This has included creating the 800m2 VAS Live venue in the footprint of the previous cinema, which can accommodate a standing audience of 1,000. Central to the new venue is a line array system from K-array’s Mugello range – flat, lightweight solutions using the company’s Slim Array Technology, which aims to maintain the desired directivity by virtue of a hyper-cardioid pattern dispersion. ‘I think it’s a pioneering system, a very new design,’ says Li, who had already stocked the Italian brand for his rental company. ‘It’s small, light and powerful, and it sounds very

98 PRO AVL ASIA July–August 2019

Real-Live and VAS Live CEO, Li Zhan, seated at his vintage Hammond organ clean. This is our first venue but we’ve used K-array for lots of our Real-Live events, and we’ve rented our systems to bands and promoters. So we have lots of experience in using K-array.’ Five Mugello-KH2s have been flown at either side of the stage, with two KS5 self-powered subwoofers per side and two Dragon-KX12 coaxial point source speakers as front-fill. ‘We only needed two because the coverage is quite enough with the two KS2 hangs – they cover the room very well,’ continues Li. ‘We put on lots of dance and hip hop shows and they like it loud, with plenty of bass.’

Two small-format Axle-KRX202s provide side-fill, and the system is driven by three Kommander-KA84 amps. The venue is also equipped with four K-array Mastiff-KM312 self-powered stage monitors. ‘They are great monitors, very powerful and clean sounding and the bands like them a lot,’ he says. The company has taken advantage of the raked floor of the former cinema, which provides audience members with good views of the stage, no matter how far back they are standing. The area in front of the stage has been filled in and raised up to create a dancefloor, while further back, as the floor rises up, rows of narrow tables give people who’d prefer not to brave the mosh pit a space to stand and rest their drinks. ‘Audiences like our space because everyone can see the show,’ says Li. ‘And, as well as the raked floor, we’ve also raised the stage up higher.’ Real-Live carried out all the necessary acoustic work itself, building false walls around the auditorium to isolate the venue and adding soundproofing in the ceiling and floors. The company designed its own acoustic panels and got them made locally, and has also created two artists’ dressing rooms behind the stage. As it’s early days for Real-Live as a venue operator, the company has limited its investment in equipment for now to the K-array system, and deployed existing rental stock elsewhere. This includes an Avid Profile for FOH, of which Li is a big fan. ‘It’s so easy to operate; I can close my eyes and use it as it’s very easy to find the functions. We are running it with Waves plug-ins to provide features such as compression, EQ and reverb.’ Onstage is a small Midas M32 mixing console for monitoring, which is sometimes run from the Profile at FOH. With its ability to provide customisable headphone outputs, a DiGiGrid IOX I/O interface with Waves SoundGrid software – again previously used for touring applications – is also part of the monitoring setup. A Shure UR4D wireless mic system with SM58, SM57, SM81, Beta 52A, 81A and 91A microphones and Sennheiser ew3000 in-ear monitoring systems are available in the venue. A full lighting rig incorporating a large and varied inventory of Acme fixtures is controlled from the MA Lighting grandMA2 console at FOH.

FEATURES: INSTALLATION

NEWS: BUSINESS

KSL touches down for its APAC debut

The building also houses a rehearsal studio and a recording studio designed by Li himself, installed with a Yamaha PM3500 analogue console and Yamaha NS-10M and ADAM Audio S3X studio monitors as well as a classic SINGAPORE: Following the global made the trip north from Australia. range of outboard gear from Universal Audio, API,technical Midas, demonstration thorough launch of the Western Audio Engineering’s Tube-Tech, dbxKSL andloudspeaker Shadow Hills. ‘I thought whatperformance my of theabout system’s systemwould at Thewant, NAMM owner, Andy Craig, had flown in clients andShow, what d&b I’d want myself,’ he explains. was provided by Werner ‘Vier’ audiotechnik hasa taken to theacoustic engineer from Wellington, New Zealand. ‘We worked with very good based here Christner. Bayer and Matthias road to formally ‘The KSL is an obvious companion in Shanghai, whointroduce helped usthe with the acoustic and put through The KSLdesign was then latest additionroom. to theHeSL-Series to the GSL that I just wanted to the recording has managed toitsget a really great paces in the 5,000-seat family.inSeven weeks on since verify that it was as good as I sound the drum room in particular, and we’ve had lots playback in theatre with musical thevery arrival the 58kgfrom cabinet at of the anticipated and it certainly ticks of goodoffeedback some older and more various configurations. A rigging the Fox Theater Pomona in Los every single box I was looking at. experienced sound engineers who really like the drumhighlighting sound demonstration the Angeles, invited guestsinfrom We have enjoyed great success here. Since we opened latethe 2018, we’ve threealready rigging finished modes, including the with the J-Series for many years two albums.’ latest compression mode features, and now GSL is astounding rounded off the morning and visiting engineers on account of afternoon sessions. its fidelity and power. So using Utilising the D80 amplification KSL for smaller occasions is a platform, KSL incorporates the no brainer. It’s always great to same technical innovations and meet the designers and hear them performance characteristics of its explain the process of what drove groundbreaking big brother, GSL. Over 200 invited guests attended the STAR studded occasion them to get to the final result, the Featuring all the recognisable obstacles they encountered along benefits of its Special Loudspeaker the way and the solutions they lineage, KSL provides full for cardioid dispersion, the 138kg are staged by reducing unwanted came up with. Then you hear the bandwidth dispersion control, family member certainly made an emissions.’ final result and you realise that an extended LF response and impression to those attendees who In addition to the many noted they really nailed it.’ advanced rigging options, all wholly desire deep bass extension. industry figures who had flown aligned with the d&b Workflow. The The SL-Series design philosophy in from Japan, China and India, www.dbaudio.com highly flexible speaker format has recording is partlystudio based on the German some rental company owners had Real-Live been created as both a standalone innovator’s concept of Art and Main K-array KH2 system at VAS Live and a fill and delay accompaniment Noise. ‘This is especially important VAS Live opened in late 2018, after almost a year of to the GSL. for outdoor concerts in Australia, renovation work. As well as Chinese talent, the venue has A thorough examination of the Europe and the US – but it is also been attracting some international names including cabinet’s components – during the becoming a big issue around the The Vaccines and The Jesus and Mary‘Size Chain, both from the – highlighted world,’ explained Mr Bayer. ‘Those Matters’ section The and KSLHUSH was unveiled at UK, from Taiwan. There is also a large bar area the dual three-inch voice coil highattending a music festival hear Singapore’s Star Performance in the entrance to the venue, with windows overlooking the drivers, frequency compression the music as art. However, if the Arts Centre vibrant neighbourhood. Elsewhere in the a thirdeight-inch thebuilding, mid frequency reinforced audio isn’t contained party is operating a videogames arena. transducer, and the low frequency within the festival site, the Real-Live now able to provide much whatdual any 10-inch and Asia Pacificisregion converged on pretty front-loaded unwanted noise emissions will be aspiring needs Arts to establish career. ‘Weeight-inch sideThe Starartist Performing Centre a music additional dual regarded as noise to those living are getting better and better, always trying to connect in Singapore to better understand mounted speakers. close by. We aim to ensure that everything says Li. ‘My hope In is addition, that in the next subwoofer the Kleinertogether,’ (Smaller) Special a new concert promoters get to stage 5–10 years we’ll have a really famouscompanion band, a Chinese Loudspeaker. comes in the form of their concerts by adopting the full Rolling Stones!’ Following an introduction titled the flyable SL-SUB. With its two bandwidth directivity technology ‘Applied Evolution’ by APAC forward facing 21-inch drivers and inherent with the SL-Series. It’s Profile atour FOH Livesure the shows stage monitors www.k-array.com territory manager Mike Case, a single, rear facing 21-inchAvid woofer aimintoVAS make CompressionK-array Mode KM312 explained

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8 PRO AVL ASIA May–June 2019

July–August 2019 PRO AVL ASIA 99

FEATURES: INSTALLATION

Heart of glass

A custom audio solution performs at Taipei’s new, opulent, high-rise bar. Ledetta Asfa-Wossen takes a look A ROOFTOP LOUNGE IN TAIWAN’S FASHION CAPITAL, located on the 48th floor of the recently opened Nanshan skyscraper, overlooks the city on one side and the mountainous Yangmingshan National Park on the other. But a lofty glass building of this kind can present a few audio challenges if not planned astutely. In the heart of Taipei’s Xinyi district, Cé La Vi is home to a sumptuous dining room, lounge, bar and rows and rows of secluded outdoor booths. A complete sound system design was required to encompass the entire indoor and outdoor area of the 1,400m2 space. Funktion-One was assigned with the audio design, while Audio 6 was appointed as the onsite contractor for this particular endeavour. The bar is the first of several openings planned in the region for the Cé La Vi Group, the next being in Shanghai later in the summer. ‘With a space like this, it’s fundamental that you keep the speakers directed away from the huge amount of glass. Without careful consideration, it would have been very easy for the acoustics to descend into a mush of smearing reflections, which would obviously deteriorate the quality of the sound and, in turn, the audience experience,’ explains Funktion-One design engineer, Mike Igglesden. Balancing interior design and acoustics is a familiar battle and one that Jonathan Liao, owner of Taiwan distributor Audio 6, is fully acquainted with. ‘The glass was definitely an obstacle. A lot of thought and discussion went into the speaker placements. In the outside booths, by using smaller speakers and locating them in closer proximity to the people, we minimised the strong reflections from the glass and created a more uniform and personal sound. The building does not allow for any permanent fixings, which required some custom metal clamps to be made.’ The venue was fitted with a system made up of four Resolution 2s and 28 F81 loudspeakers with two BR218 and 15 BR115 subwoofers that are linked together to provide a more immersive sound experience against the bar’s cityscape backdrop.

100 PRO AVL ASIA July–August 2019

‘We were able to provide intimate stereo sound for all the booths. Around the bar, we implemented a four-point system, creating an immersive dancing environment for livelier moments,’ describes Igglesden. ‘As house music features most nights, there still needs to be plenty of bass and headroom to allow the DJ to turn it up when needed. Funktion-One was on hand to deliver knowledgeable advice on the design and system specifications,’ adds Liao. As the space functions as both a bar and a lounge, the client required even sound throughout the venue, with the ability to increase levels when appropriate. ‘The highly controlled directivity of the Res 2 – as with all Funktion-One speakers that use Axhead technology – focuses the sound on the areas where it is required and delivers high-quality audio in what is a fairly challenging environment,’ says Igglesden. ‘While the main room Resolution 2 speakers and BR218 bass-reflex speakers help deliver plenty of output, the

distributed F81s and BR115s create a much more personal and intimate environment in the booths,’ adds Liao. These are all powered by Full Fat Audio amplifiers with internal DSP and are controlled with an Allen & Heath Qu-16 digital mixer. ‘No two installations are ever identical, even if they may often have similar requirements. The techniques that we have developed by taking an active involvement in a range of installations allow us to really provide great results through our par tners around the world,’ adds Igglesden. A shrewdly designed system for the unique challenges of this par ticular building and one that seems to have benefited from the manufacturer’s hands-on approach. www.audio-6.com www.funktion-one.com

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FEATURES: POSTPRODUCTION

Coming home

L–R: Beijing Genelec’s Feng Hanying and Maxsfilm’s Ding Yeheng

China may not have Netflix, but its video on demand channels are already broadcasting in Dolby Atmos. Caroline Moss visits an audio postproduction facility that’s raising the game

L–R: Maxsfilm’s Liu Xu and Ding Yeheng

Genelec 7370 subwoofers

The streamlined Avid S3 and Dolby 7.2.4 setup

102 PRO AVL ASIA July–August 2019

NO DOUBT AIDED BY THE GREAT FIREWALL OF CHINA, which blocks international online platforms including Facebook and Twitter, the country’s own social media channels such as WeChat and Sina Weibo have proliferated. Similarly, in the absence of international video on demand channels like YouTube and Netflix, the most populous nation on Earth has embraced its own OTT services, with three players – Tencent, YouKu and IQiyi – leading the way. Not surprisingly, the predominance of these market leaders is coinciding with the disappearance of DVDs and Blu-rays, which are now almost obsolete in the country. This has come at a time when cinemas in China offer increasing levels of technical sophistication. Dolby Atmos is now commonplace across a country whose moviegoers have come to expect a helping of immersive audio with their popcorn. Put the two phenomena together, and it’s understandable that streamed content is now starting to

appear in Dolby Atmos on the country’s three main OTT providers. Once a trend gathers steam in China, there’s no stopping it. One of many professional operations to notice the potential of Dolby Atmos for the home is Maxsfilm, a postproduction facility located in Qikeshu Innovation Park in the east of Beijing. The company, which set up in 2014, already had a total of six studios. Noticing the trend, it decided to open a Dolby Atmos Home Entertainment certified studio for home mixes and has become the first such Dolby-authorised facility in China. The studio started operating last August and has already clocked up 12 titles: a mixture of feature films and TV dramas. Maxsfilm is not the first to the party, however. Unlike studios working on Dolby Atmos for cinema releases, facilities providing mixes for consumer and streaming applications don’t need an external Dolby Rendering and Mastering Unit (RMU) to operate. The Dolby Atmos Production Suite is a complete in-the-box solution for Pro Tools users, allowing monitoring of content without the need for the RMU, nor room certification from Dolby. What sets Maxsfilm aside from many other such facilities opening across China, however, is its determination to work with Dolby from day one to get official certification. This involved ripping apart an existing 25m2 studio to comply with the exacting standards for acoustic treatment, reducing it by a fifth of its size, as well as correct speaker placement and ensuring that staff had the correct expertise to mix the format. Six separate facilities operate at Maxsfilm, five of which are audio studios catering for formats from stereo right up to Dolby Atmos HE (Home Entertainment), the sixth being a Dolby Vision edit suite. ‘We invested in getting the Dolby

FEATURES: BROADCAST FEATURES: POSTPRODUCTION authorisation because we were determined to build a professional studio to give us an edge over the others,’ says Ding Yeheng, Maxsfilm’s owner. ‘I believe Dolby Atmos is the future; eventually everyone will have it, and stereo and even 5.1 will be a thing of the past.’ Maxsfilm was so early to the party, however, that Dolby hadn’t even launched its Dolby Atmos HE certification programme yet. ‘The requirements and specifications hadn’t been finalised at that time, so there was quite a lot of communication between Dolby in China and the UK and Maxsfilm to discuss the system plan, avoiding any settings or designs that were potentially outside the specification,’ says Jason Zhao, senior manager, content service at Dolby (Beijing). ‘In addition, as the studio was an upgrade instead of a new build, some existing issues needed to be

As well as Dolby Atmos titles for the home, the studio can also handle 5.1 mixes for cinema releases. The facility’s mix engineer, Liu Xu, has gained plenty of experience in mixing in 5.1 in Maxsfilm’s other studios, which he says gave him a good grounding in immersive sound before moving up to Dolby Atmos, and he was given a lot of support from Dolby in working in the new format. Consumers tuning in at home or on the move can, at present, access content via special Dolby Atmos headphones, and an increasing number of specialised home theatre systems, mobile devices, soundbars and TV sets. ‘The fact that all of our three major video on demand platforms are now actively broadcasting in immersive sound is good for the development of audio technology,’ says Feng Hanying, national

Small voiceover studio with a Yamaha DM1000VCM console Small voiceover studio with a Yamaha DM1000VCM console

broadcasts are made for normal audiences, broadcasts are made for normal audiences, so the sound engineer needs to know what so the needs to know they willsound soundengineer like at home,’ says Wu.what they willbuilt sound like at home,’ says Wu. ‘We’ve a Dolby Atmos system for home, ‘We’ve Dolby Atmos for home, so that built if anya problems are system discovered, the White Snake gets a Dolby Atmos soundtrack so thatengineers if any problems the sound can fix are it indiscovered, the studio next sound engineers fix it intothe studio next solvedWe’ve to meet thecan certification requirements, door. always wanted have a room door. We’ve always wanted have a room such as replacing the old airto conditioner for doing this.’ for doing with a newthis.’ onethroughout to reduce operating Microphones the facilitynoise, include Microphones throughout facility include raising room height to the achieve amodels, better DPA andthe Schoeps surround sound DPA and surround soundonmodels, room ratio and adding a microphones diffuser the back as well asSchoeps classic vocal such as as as M149 classic vocal such as wallwell to reduce theTubes, soundmicrophones reflection. These Neumann Brauner Phantom-Vs Neumann M149 Brauner things mean lots Tubes, of room retreatment and and Manley reference gold mics.Phantom-Vs and Manley reference gold mics.thestudios measurement Fortunately, final In addition towork. the postproduction Inthe addition to the postproduction studios result is good.’ in main building, the adjacent building inWhile the main building, the adjacent building the work of Beijing Gisun Acoustic contains eight broadcasting studios, contains eight studios, Designawas vital in constructing the and studio giving total ofbroadcasting four control rooms a giving a total of four control rooms a correctly, the live choice of speaker alsoand played Dolby Atmos production studio. These Dolby live Maxsfilm production studio. These a largeAtmos part, and with a broadcast studios use the went same networked broadcast studios use According the same to networked Genelec 7.1.4 system. Ding, the brand was selected for its transparent audio qualities. ‘Genelec makes very highspecification speakers and this is reflected in the detail you can hear from them,’ he says. ‘It’s very important that monitor speakers should be as truthful as possible, to give you the best reference possible.’ The installation consists of three Genelec 8350A SAM monitors for the L–C–R channels, four 8340As for the surround channels and a further four 8340s as overheads, with two 7370 subwoofers, which appear enormous in the small room, but were necessary to meet the Dolby standards. Although two were required, they are playing the exact same signal from one channel. The streamlined setup is completed by an Avid S3 control surface with MTRX audio interfaces, a Mac Pro computer running Pro Tools HDX, an Onkyo PRSC5530 11.2 channel network AV controller with Dolby Atmos, an Antelope Music library clock and the Dolby Atmos Trinity master Music library Mastering Suite.

and collaborative workflow system as the and collaborative workflow as the postproduction studios. Thesystem comprehensive postproduction studios. facility is completed withThe the comprehensive addition of an facility completed the addition of an OB vanissaid to be thewith largest in the world. OB van to of beZRTG’s the largest in the world. (See oursaid video OB van at www. for home listening (See our video of ZRTG’s OB van at www. proavl-asia.com/details/61246-inside-theproavl-asia.com/details/61246-inside-thedirector of Beijing Genelec Audio. ‘To have world-039-s-largest-audio-ob-vehicle) world-039-s-largest-audio-ob-vehicle) aThe “proper” Dolby Atmosofsystem careful planning ZRTG’sat home The careful of ZRTG’s requires a lotplanning ofrequirements renovation work install all postproduction hastoresulted postproduction requirements hasAlternatively, resulted thea speakers and runruns the cables. in new facility that smoothly. A large in a new that is runs smoothly. A large upward-firing speakers and sound can part of itsfacility efficiency down to thebars fact that part its already efficiency is down to the fact that also of create an immersive effect if the setup ZRTG had created a demand for ZRTG had already created a demand and environment are correct, and theyfor do its sophisticated broadcast productions, and sophisticated productions, and its simplify the setbroadcast up process. new postproduction studios should ensure new postproduction studios shouldinensure ‘Wethese are still in standards a very earlyendure. phase the that high that these high development of standards immersive endure. sound. Dolby Atmos is a very good start, but it’s not the www.avid.com www.avid.com final destination. And, from a production www.dmtpro.com www.dmtpro.com perspective, we are just exploring how www.genelec.com www.genelec.com immersive content can be created through the mixing process.’ Among the titles to be mixed in Dolby Atmos in Maxsfilm’s newest studio is the online version of blockbuster White Snake, an animated film based on a popular traditional Chinese story, which grossed CNY447 million when it opened in cinemas in January. In a perfect example of the way the market is heading in China, the title isn’t due for release in a physical format. Fans of the film, whether they choose to watch in the cinema or stream at home, will notice one thing: once the creative use of Dolby Atmos has been experienced, it’s difficult to go back. This has already been happening in the cinema. Companies like Maxsfilm are now working to raise expectations to a similar level in the home.

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www.avid.com www.dolby.com www.genelec.com www.maxsfilm.cn

May–June 2019 PRO AVL ASIA 109 July–August May–June 2019 PRO AVL ASIA 103 109

FEATURES: PROFILE

Interview: Solomon Chang, Mipro

Richard Lawn speaks with Solomon Chang, president of Taiwan-based microphone and wireless PA systems manufacturer, Mipro

Mipro president Solomon Chang What was your background prior to joining Mipro? I graduated from university with an applied physics degree and, before Mipro, I worked as a management information systems (MIS) manager for Chiayo and established an Enterprise Resource Planning system.

teams. We work hard to continue to develop and manufacture innovative, reliable and future wireless microphone products that meet market demands.

How was Mipro initially financed? It was self-financed; we didn’t take out any bank loans.

What role did you play in the founding of Mipro in 1995? I was responsible for managing company operations, establishing and hiring department heads for research and development, production, finance, international and domestic sales, marketing, MIS and other departments.

What was the rationale behind establishing the company? To design, sell and market higher-quality wireless microphone and wireless portable PA systems, and to establish and receive ISO-9001 standards.

Who devised the motto: ‘innovation, quality and satisfied users’? My father, Mipro founder and CEO, KC Chang.

How did Mipro differentiate itself at the outset? Mipro wanted to position itself as an innovative company, not as a me-too or copycat company. We have a team of experienced R&D engineers as well as sales and production

What are the strengths and drawbacks of being a family business? Strengths include leadership stability, long-term commitment, and the possibility of longer working hours from home and the office. Drawbacks are that family relationships can be challenging when the same ideas aren’t shared; possible nepotism.

Mipro employs a workforce of 200. How important is this to the local economy? Mipro is considered both a key and a model company in Chiayi. We provide an income for approximately 150 local families. This ensures that tax dollars are invested back into the local economy.

Why did Mipro market itself as a brand rather than an OEM producer? The majority of Taiwanese factories are OEM producers. We needed to think about this and be different from the others. Branding creates loyal customers and loyal employees, and there is product differentiation.

The Mipro HQ in Chiayi

Are there difficulties in creating brand awareness for a Taiwanese manufacturer? Around 98% of Taiwanese companies are considered smalland medium-sized enterprises, meaning 200 people or less. The difficulties of developing their own brands are due to small sizes and limited resources like manpower and money; this makes development a difficult task.

What proportion of overall sales is international? Our sales are 80% international and 20% domestic.

Which territories and countries have represented export successes for Mipro? Our sales growth has mostly been in China and Germany, as well as Korea, because we have established Mipro offices that can provide total solutions locally.

With growth in China, has this led to imitation products? Imitation is the highest form of flattery, but it impacts our sales in China. Since we have introduced many digital systems, it has become harder for counterfeiters to copy, except the housings, of course.

How important is software development now?

Mipro’s Eugene Chen and CP Lin presenting the ACT range of wireless microphones

104 PRO AVL ASIA July–August 2019

As PA products have become digitalised, software plays an even more important and integral part for wireless microphones in terms of monitoring and management. Software is becoming a necessity in the pro AV industry.

FEATURES: PROFILE If you were starting a business now, what area would you primarily focus on?

par tners and Mipro offices in key countries, as well as winning Germany’s Red Dot and iF product design awards and Taiwan Excellence Awards presented by the Ministr y of Economic Affairs. We’ve also been happy to see our products nominated many times for the Technical Excellence & Creativity awards during NAMM.

Improved systems integration between hardware and software. It seems all products are being sold online nowadays. We can learn a lot from these international e-commerce companies.

How do you stay ahead of the competition?

What are some of the biggest problems you’ve overcome?

We have close relationships with our international offices and distribution partners and exhibit at major trade shows. We receive market feedback firsthand in order to improve our existing and future products and give audio professionals a better experience when using Mipro products. The wireless microphone environment changes constantly. More system integration with software and hardware is required. This means hiring more talent and investing in advanced equipment to fulfil customer needs in order to sustain market growth.

Will Mipro diversify its product range away from wireless technology?

How many employees are directly stationed in R&D today?

Unlikely. We would like to focus mainly on wireless microphones and related products and technology.

Around 10% of the workforce, or 20 people.

Trade shows are important for marketing – how many do you attend per year and why?

Which products are selling best on the export market?

The breakthrough in stability of digital UHF wireless products. Sourcing advanced components to improve product performance. crowded too, so we have also introduced 5.8GHz wireless microphone systems.

NAMM (USA), ISE (Holland), InfoComm (USA), Frankfurt Prolight + Sound (Germany), KOBA (Korea), Guangzhou Prolight + Sound (China) and Integrate (Australia). These cover the regions of North America, Europe and Asia Pacific.

Our professional 7 and 8 Series and entry-level 3 Series wireless microphone systems and wireless portable PA systems.

What is your biggest achievement to date over the last two decades?

Is there a need to migrate products away from the 2.4GHz spectrum? 2.4GHz is another frequency option as UHF bandwidth is being squeezed worldwide. However, the 2.4GHz band is getting more

Becoming the leading wireless microphone brand in Taiwan with more than a 50% share in professional and commercial markets. Having 75 worldwide distribution

Do you know the names of all your employees? Haha, I have tried, but it is not easy. I do schedule one meeting with each employee once a year.

What does the future hold for Mipro? To develop wireless systems that can be operated in harsh environments, improved receiver software experiences and applications for wireless portable PA systems.

What are the assets and drawbacks of being ‘Made in Taiwan’? ‘Made in Taiwan’ products have a high product quality and are often mid-priced compared with Chinese-made products, creating good value for audio professionals. The disadvantage is that wages are rising, and the international status of Taiwan can be mixed up with China. We think by branding we can create a stronger value and product differentiation in the minds of audio professionals. www.mipro.com.tw

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July–August 2019 PRO AVL ASIA 105

FEATURES: RECORDING

Belle Puengrusme with her brothers and team in one of three studios equipped with an SSL AWS 948 δelta console

The demo makes the sale

Richard Lawn braves the Bangkok traffic to meet familyrun Vintage Studio, which combines commercial recording facilities with equipment distribution and training WHEN SOLID STATE LOGIC (SSL) APPOINTED VINTAGE Studio as its new retail products distributor in Thailand, some eyebrows were raised. Until that announcement in 2016, Vintage Studio’s presence in the pro audio industry was firmly in the consumer camp. However, SSL VP Asia Pacific, Anthony Gofton, recognised a potential master seller when he saw one. Could the Puengrusme family take SSL Studio Products to a new level? It’s two decades since the family passion for studio recording was lit, and it appears that the flames have been fuelled over time. ‘I was simply looking to create a better sound,’ explains eldest brother and doctor Teerawat (Bill) innocently. ‘Despite the fact that I was working full time as a doctor at the hospital, I was becoming increasingly fascinated by music recording. Outside work, I was spending all my free time in the studio.’ Music is in the family’s blood, however. Before studying medicine at Chulalongkorn University, Bill had graduated with a Grade 8 in music from Trinity College London, while sister Belle is a classical pianist in addition to having achieved a PhD in management. ‘When Bill started experimenting

106 PRO AVL ASIA July–August 2019

with audio, our brother Berth and myself were bitten by the recording studio bug,’ she explains. Coinciding with Bill’s passion for audio recording, the Puengrusme parents were building a new family home in Bangkok’s Bang Na district, and agreed to accommodate a music studio within the architect’s blueprints. ‘They were aware of the audio equipment that I was amassing and wanted to know if there was anything that they needed to add into the plans of the new home,’ he says. Little did they realise that the venture would quickly expand beyond a typical project studio setup, requiring the architect to gradually increase the allocated space in one wing of the house. ‘Looking back on this time, it was rather visionary,’ says Belle. ‘It coincided with a time when many Bangkok studios were closing down. While we were aware that it might not be a wise economic venture, our passions took over.’ Fortunately, the Puengrusme siblings’ decision to follow their hearts also proved to be a good business move. Today, Vintage Studios has three recording spaces and a solid place in the Thai recording industry thanks to an educational

Brands distributed in Thailand by Vintage Studio programme that includes delivering recording workshops in collaboration with Thai educational institutes. As Vintage Studio’s inventory of SSL consoles and retail products grew, its clients began to purchase equipment from the studio, which ultimately led to SSL making the situation official, recognising its ability to promote brand awareness and

FEATURES: RECORDING strengthen customer relationships. ‘We have a main classroom here at the studio and three further breakout rooms with different products and setups,’ Bill explains. ‘We welcome a wide range of clientele and can offer them a host of various SSL products to create their recordings, including the AWS 948 δelta, Matrix 2 Sigma and Nucleus2. It’s a working showroom and we also offer training at our Centre of Excellence. It’s vital that we continue to make investments and encourage artists to interact.’ ‘SSL has been pro-active in product and sales training with us,’ continues Belle. ‘As a result, we have got to know and understand our customers a lot better and realise that the relationship doesn’t end with the sale. We don’t want our customers to merely look around the studio or showroom – it’s important that they experience it. As our customers come from varying backgrounds with different setups, it’s vital that we understand their unique requirements.’ The days when recording studios prospered as bands booked lengthy sessions to record an album have become a distant memory as cost-effective studio equipment has proliferated. This has inevitably led to the closure of studios around the world, with commercial facilities often needing to think outside the box in order to survive. Although it might be an unusual setup, the SSL appointment sits well with Vintage Studio’s feasibility as a commercial facility, the two sides of the business bringing complementary aspects to each other. ‘If you’re promoting expensive equipment, it’s important to demonstrate it in an appropriate environment, so that the audience can appreciate the value of what you are promoting,’ says Bill. ‘At Vintage Studio, we’re not just a recording facility, we’re also a showroom for our partner’s products.’ When Vintage Studio isn’t demonstrating or educating, the team is kept busy creating informative and educational videos, uploading social media posts for its growing online community. On the recording side of Vintage’s business, several full-time engineers have been assisting at the studio for over 10 years, including chief sound engineers Nin and Bay who work long

can be no compromise. Word-of-mouth marketing remains the most effective method; when friends talk among themselves following a good workshop or studio session that then spreads a desire.’

An SSL Nucleus2 console hours to get the sound the client is after. With hourly rates starting at THB500 (US$16) per hour, the studio is affordable for up-and-coming artists. ‘We’re all trained in analogue recording and can offer expertise to anyone coming here to record,’ says Bill. ‘It’s important to know what it is like to be a customer, so we place ourselves in their shoes. Thai people often say they want the Western sound. They want their productions to be clear and big, they want their recordings to match up to the instruments and voices in the live room and they demand the studio tools that will give them creative options. SSL SuperAnalogue technology is not just limited to the biggest studios and it can give them all that, fitting into most rooms and budgets. We’re always aiming to improve, remain open-minded and continue to provide knowledge. There’s an old proverb that says when you learn, you teach – and when you teach, you learn.’ In addition to SSL, Vintage Studio has also been appointed as the Thai distributor for Bock Audio, Soundelux, Furman, PMC and UK monitor manufacturer Unity Audio. ‘We can now deliver source to speaker solutions for our customers,’ says Belle. ‘We enjoy great relationships based on help, support and expertise. We use the products before introducing them to the market, and we won’t push a product unless we’re 100% confident. Our integrity must be maintained, and there

The live room’s drum kit is miked up for a session When Pro AVL Asia visited, Vintage Studio had just conducted a microphone workshop, and an enthusiasm for such events was palpable. ‘Matching the needs of the audience to the budget is key; with the Bock 47 cardioid condenser mic, for example, I like to compare its features with other microphones in its class and personalise the experience for the customers,’ says Belle. ‘When you host a workshop, you have an opportunity to see if a product matches clients’ needs. We don’t promote products if we don’t feel they are totally correct for their setup.’ Medical careers may have been put on the back burner, but the flame that was ignited two decades ago for the Puengrusme siblings burns brighter and brighter. www.solidstatelogic.com www.vintagestudiorecording.com

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July–August 2019 PRO AVL ASIA 107

BUSINESS: COMMENT

A letter from America

Dan Daley considers the shift from the physical to the virtual to the experiential

JUST AS THE CONSUMER LANDSCAPE is shifting to valuing experiences over possessions, so too is the professional AV industry following suit, although not necessarily for the same reasons. But whatever the underlying reasons, this represents a major change in the nature of how we perceive the world. The migration to digital nearly three decades ago now began loosening our collective grip on stuff in general (and possibly on reality, if recent national elections and referenda are any indication) by replacing actual stuff, like CDs and DVDs, with virtual possessions like downloads. But it was the more recent shift to streaming as a primary distribution modality that sealed virtuality as the winner over physical. Bereft of the analogue incunabula that had feathered our nests, we began to look to experiences to replace the sense of accomplishment that once came with owning stuff. In this revolutionary environment, ownership of even the wisp of reality that a download constitutes on a hard drive was

considered digitally bourgeois. Instead, media came in the form of never-ending (as long as the monthly subscription costs were paid) streams, delivering music, movies and television. This model has now extended to things that we once thought were never going to give up the ghost to digital, like ownership of automobiles, which have been replaced by Uber and Lyft; peer-lending sites like UrbanShare and KRRB let you borrow lawnmowers and power tools as needed rather than buying them; and even the putative permanence of where you live has been upended by services like Airbnb. So no wonder consumers want experiences to fulfil their lives the way things used to. And that’s turning out very well for those of us in the professional AVL and media businesses, because those industries are well suited to provide experiences. Many of the same companies that once developed content, in the form of music and films, have found ways to make that content an experience. Harry Potter, Jurassic Park and Pirates of the

A letter from Europe

Caribbean are just three examples of books and movies that went from an ownership model to a virtual model to becoming experiences at theme parks. Certainly in the last two iterations, anyone working in audio, video, film or AV systems integration has been a substantial beneficiary of the trend. Someone has to make Hogwarts look better than a typical rollercoaster ride. As good as the migration from physical to virtual to experiential has been, we’re also seeing it on the professional side. A recent visit to Harman Professional’s Experience Centre, in St Albans, a half-hour’s journey by train from London, reflects how even those who design and implement the experiential environments that we’re now demanding not only in our entertainment verticals but also in our work and residential surroundings need to encounter the technologies they’ll leverage to achieve that in their own kind of experiential environs. The Experience Centre walks one through corporate, club and living-room milieus, showcasing Harman’s audio, video,

lighting and control solutions and products, not only as standalone units but also as synergistic, interrelated systems. Harman’s not alone in this strategy; other conglomerated companies, such as Crestron, have also created their own experience locations. The experience centre, like the corporate and university welcome centres that are on the verge of becoming new AV verticals of their own, allow their sponsors the ability to display not just wares but possibilities. In higher education, these centres show not only degree paths but meeting rooms that employers will use to interview prospective graduates, while corporate welcome centres will give customers and clients the background they’ll need to build trust. Everything now is an experience, even the meta-like scenario in which those who build others’ experiences create their own to showcase their capabilities. It’s actually a great time to be able to observe this progression of trends. So good, really, that whatever one comes next will have a lot to top.

Phil Ward delves into a European culture of diversity and inclusivity IF PRESSED, AFTER ENOUGH PINOT NOIR, to nominate the most mysterious phenomenon in the universe, I have an answer. That phenomenon is human consciousness. Not space, or Jacob Rees-Mogg, or some microorganism that eats itself every 12 seconds and is able to withstand gamma ray bursts, total vacuum, temperatures from absolute zero to boiling point and both sides of Alanis Morissette’s Jagged Little Pill. I mean the cloud of hopes, fears and assumptions that floats about in your head and mine. Because, as far as we know, it’s the only thing that asks the question in the first place: what is the most mysterious phenomenon in the universe? Everything else gets on with existing without a care in the world, including Jacob ReesMogg. Which leads me to the first of only three observations I can make about it:

1. It demands an explanation of itself Once there, an individual mind is doomed to remain puzzled until the end, despite all the

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advantages it brings. Nothing will make this hanging enigma go away, apart from sleep, or listening to Alanis Morissette, which is the same thing. In terms of unexplained evolutionary purpose, the conscious mind ranks with the appendix and nipples for men.

2. On its own, it’s not enough Not content with being the cleverest animal on the planet – apparently – we have to stuff consciousness with things either to conjure meaning and purpose or to amplify sensation and obliterate doubt. These include religion, drugs and Country & Western music.

3. It doesn’t connect to anything else There are no codecs, switches or Cat-5 cables that help it to form part of a bigger network, as in the actual transportation of content and data. This makes it an existential dead-end. All of which means that in spite of the miracle of Wi-Fi we still want to blow ourselves up in

a crowd of innocent strangers, divorce the people that love us the most or eat McDonald’s Mushroom & Swiss Burgers until the Earth melts. This is exactly why I value very highly any culture that promotes diversity and inclusivity at the same time. These are the addends that lead to the sum of tolerance. Believe it or not, Europe is very good at it. A recent one-night exhibition at super-club Fabric, in the Farringdon area of London, documented an astonishing array of open-mindedness across the entire continent, evidence of the regular and imaginative staging of club themes in urban spaces ‘all dedicated to inclusivity, community and freedom of expression’. This was a timely choice of venue, too: Fabric has recently enjoyed a real renaissance following the upgrade of two of its three rooms as part of a serious investment in club culture. Room 2 installed 10 XY-218S twin 18inch subs and 12 XY-122 12-inch full-range cabinets, plus in-fills, all from club mainstay Pioneer Pro Audio and powered under the auspices of Pioneer’s special relationship

with Italian amp gurus, Powersoft. Then, after re-opening under stricter new licensing conditions, Room 3 received an almost identical Pioneer-led facelift courtesy of another payload of XY products, this time configured in a series of quad systems under each arch in order to keep a tight control over coverage in such a reverberant, brick-built Victorian cold storage facility. I honestly believe that the synergy between the right loudspeakers and a subliminal message of unity is one of the defining qualities of every youth subculture since the 1960s. Just to prove the point about how inclusive Europe can be, the exhibition covered Berlin techno and its club Tresor, with a unique ‘After the Wall’ archive; Milan’s ‘spaghetti disco’ scene; La Mobida Madrileña in Madrid between 1978 and 1985; French electronica; UK club culture; and ‘Soviet Hippies, a look at 1970s Estonian Psychedelic Underground Culture’. Basically, under the very nose of Rupert Murdoch, people do what they can to connect, and not to divide. It’s not that mysterious.

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BUSINESS: COMPANY PROFILE

In the mix

With 50 years under its belt, the Cornwall-based British mixing company still banks on innovation. Ledetta Asfa-Wossen spoke to Allen & Heath MD, Rob Clark IT’S HARD TO THINK OF A MORE PINNACLE YEAR THAN 1969 – from the Apollo 11 space mission and the firstever transmitted colour pictures of Earth from space to Woodstock and Richard Nixon’s pledge to pull the US out of Vietnam. It was also the birth of Allen & Heath. The early 1970s saw A&H catapult after its hand-built, quad-mixing console for Pink Floyd – the Mod1 – and it has steadily built on that success via a Harman acquisition in 1991, a series of management buyouts and ardent leadership under Glenn Rogers. But, even with its twists and turns, the company has become the sum of a wellorchestrated evolution. ‘It’s such a great time for A&H – we’re riding a fantastic wave, and that’s testament to the superb R&D, production, sales, product and marketing teams who have worked so hard to build all aspects of the business,’ enthuses MD Rob Clark, who was sworn in back in 2017. Clark first joined A&H as an R&D engineer in 1993 and has played a key role in the development of the company’s digital mixers as R&D director. ‘We’ve had great success with our compact digital mixers, SQ and Qu, but there are still more opportunities in markets and applications that have not been exposed to them. Asia is growing so quickly, and that’s mirrored in the speed of the transition from analogue to digital mixers. We want to play a leading part in that analogue-to-digital journey and SQ and Qu are ideally suited. The ability to connect and expand I/O over digital snakes is a key advantage of a digital mixer, alongside auto mic mixing, save and recall of shows and scenes, and integration with different audio networking and interfaces such as Dante, or our own DX protocol,’ he adds. Portable mixing is another area A&H is investing in, giving users the freedom to mix from a small footprint surface or from a tablet. ‘Another A&H initiative straight from R&D is Everything I/O, which reflects our passion to provide remote I/O solutions

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Rob Clark now leads the team having served the company for 26 years that work across our products and give customers an expanding range of options to get the perfect pairing of console and I/O units for their application,’ says Clark. With advances in technology unlocking more processing power and capability, Clark notes that the bar for new product innovation keeps rising. ‘Customers are requesting more and more features,’ he says. ‘Technology in the next 5–10 years will continue to offer us more and more – our

role is to help the sound engineer continue to be creative and do their job, while keeping it intuitive and easy to use.’ A surprisingly powerful aid to the business has been social media and Clark cites the growing importance of user communities for informing R&D and its strategy. ‘Connection to the customer has always been at the heart of A&H, so the rise of social media has been really interesting. Social media has been critical for keeping end-users in touch with the latest product developments and helping them get the most from their products, but, most importantly, listening to their feedback. Any user community is a great source of ideas. We encourage them to share their ideas with each other. For instance, it was a small group of users that first saw the potential for our ZED mixers in online game streaming. The idea just spread like wildfire. It’s also been invaluable to recognise the big differences in social media between territories; we work closely with local distribution partners on how to better connect with users.’ Perhaps surprisingly, Clark highlights the house of worship market as one of the company’s strongest growth areas. ‘If I had to pick out a single sector, it would have to be houses of worship, but installation as a whole has been strong. Our ME personal mixing system has also been massive for us. Initially, it was in the USA but we’re now seeing rapid adoption of personal mixing globally, particularly in Asia.’ To cater to what seems like unlimited market potential in Asia, Clark strategically brought back Jamie Ward, this time as sales director for its APAC region. Ward first cut his teeth at A&H back in 2000 and, after seven years at the company, returns with international sales experience at Community Professional and Harman. ‘A pan-regional strategy has been important when it comes to ensuring the availability of our products in rental networks and providing a high level of technical support in

BUSINESS: COMPANY PROFILE each individual Asian country. We’re seeing more and more international artists from Europe, America and Australia touring with dLive systems across China and South East Asia. One of our key strengths has been the ability to build a solid dLive rental network to support product availability when and where it’s needed. We also see the same thing with our Xone DJ business,’ says Ward. ‘We’ve witnessed exceptional growth in APAC over the past couple of years. China obviously remains the most significant part in terms of overall numbers, but we’ve always been focused on the vertical markets and had some great success with projects across Southeast Asia. South Korea, Indonesia and Thailand would be good examples of that. In terms of the touring business, our partners in Australia have had a stellar year switching people over to dLive and SQ. We are also still experiencing the switchover from analogue to digital. Vietnam is a good example of that and, along with a few other smaller territories, our Qu and SQ products have opened new doors. We’ve gained a significant amount of market share not only in the MI, end-user level, but particularly with small- and medium-sized rental companies. There is still lots to do. Education remains a key focus as we look to push across the benefits of the workflow and ecosystem in our product lines,’ notes Ward. With its products now being manufactured in China, it’s clear that the innovation all happens at A&H’s Cornwall HQ. ‘We now have an incredible facility after a huge investment. Our R&D and the new product development facility are in the UK, along with our product, sales and marketing teams,’ says Clark. ‘Providing cost-effective products for our customers is obviously important, but our ambition has never been to be the cheapest. We want our customers to choose A&H because they trust us to deliver a better mixing experience,’ reinstates Ward. Now in his 26th year with the company, Clark still beams with passion and pride at the consoles that have left the factory gates and that zeal flows throughout the company.

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July–August 2019 PRO AVL ASIA 111

BUSINESS: SHOW REVIEW

GETshow 2019

This year, the GETshow was held two months apart from Prolight + Sound Guangzhou for the first time. How did GET fare?

MUCH CONCERN HAD BEEN EXPRESSED THAT SEPARATING the shows – until now held concurrently or within days of each other – would adversely affect the smaller GET. By and large, however, the effects were less serious than anticipated, indicating that both shows have reached a maturity and independence. GET 2019 incorporated three audio and six lighting halls as well as an experience hall in the East Square of Pazhou Poly World Trade Center Expo, where dozens of companies staged a light show. Most Western brands were in Hall 1. ACE’s spacious booth was showing Harman, MA Lighting, TASCAM, Shure, Sennheiser and Claypaky, including the debut of JBL’s VTX A8 in China. ‘Though the two shows have been separated, this show is much better than we expected. We haven’t seen much difference in terms of traffic,’ said Huang Ziyong. Rightway Audio Consultants was of a similar opinion. ‘The first day was the most busy and attendance decreased day by day, but this is consistent with the situation in previous years,’ added Zhong Ming from a stand that was more compact this year, but had a wide selection of immersive technology from brands including L-Acoustics, DiGiCo and KLANG:technologies. Real Music brought more brands to GET than it did to Prolight + Sound, including Adamson and Next-proaudio. Richie Wang was one of those who believed that this year’s decision by the organisers to enforce entrance into Halls 1 and 2 through the underground Hall 9 had affected the flow of visitors. ‘In past years, the entrance was right here by our stand, so the traffic was good,’ he said. ‘But now people have been diverted to other areas, and some visitors may not come back after they’ve been to the outdoor demo. I feel this has reduced the amount of visitors, though there are more types of customers than before, such as people from the live performance and club market as well as subcontractors.’ Since last year, both of Martin Audio’s Chinese distributors, Sino Huifeng Audio Group and Pacific Budee, had decided to only attend GET. ‘I understand why our distributors have chosen this show; it’s more intimate, and you certainly get

good value from it,’ explained Andy Duffield. ‘The show has grown noticeably from the first time I did it three years ago, and it feels as if there are a lot of people attending.’ Pacific Budee’s booth was its largest to date, divided into different brands including a prominent entertainment area featuring Void Acoustics, and other areas for Electro-Voice, PreSonus and conferencing integration with Extron and Electro-Voice products. In the centre of the mixing/recording section was the new API Audio 2448 console. ‘I’ve been

Andy Duffield from Martin Audio

The SAE team

ACE’s Huang Zhiyong

The Weifa and CyberMotion teams

112 PRO AVL ASIA July–August 2019

API’s Dan Zimbelman (centre) with the Budee team

Ruisheng’s Xu Hao, Will Chen and Zhang Shilai

Zhong Ming from Rightway Audio

Ice Lu of LAX

Koy Neminathan on the Avolites booth very impressed with the amount of people here,’ said Callum Bowran from Void Acoustics Asia Pacific, at GET for the first time. ‘The quality of visitor has been good, not just from China but other markets. The noise levels are lower than I was expecting; the organisers are obviously enforcing this by turning off power to the stands.’ Ruisheng was showing similar products as it had at Prolight + Sound, including TW Audio, Seeburg, JBL, Phonic, Harvey, ClearOne and Midas. Ruisheng’s Will Chen preferred the new timing of GET. ‘The separation of the two exhibitions has had no effect on us, it’s better. We have had more time to communicate with customers.’ PLA’s booth located at the entrance of Hall 2 was showcasing K-array, Universal Audio, Audio-Technica, Sennheiser and Studiomaster. ‘Because of the separation of the two shows and the fact that everyone starts getting busy in May, the traffic is slightly less than last year, but it has exceeded our expectations,’ explained Ben Lin. Clear-Com attended the show by itself for the first time, in a prominent position outside Halls 1–2. ’We have been exhibiting with our dealers in previous years,’ said Winnie Wu. ‘Visitors to this show know what they want very clearly.’ Hall 9, mostly consisting of small stands, was dedicated to audio. SAE, which has previously only participated at Prolight + Sound, took a small booth here to showcase its C3500Q Class-D power amplifier. ‘The GETshow has promoted itself well over the years,’ enthused Hannah Luo. ‘Some of our domestic and overseas customers were attending this year, so we decided to participate.’ In addition to truss, Weifa’s booth also exhibited the CyberMotion stage mechanical system. ‘The popularity of this show is steadily rising year by year,’ said Xie Runzhong. Avolites’ Koy Neminathan was very happy with the event. ‘GET is a fantastic show for us, because a lot of local lighting designers and operators are coming to visit. GET has worked with us to identify and remove counterfeit consoles and literature. I don’t think there’s been a reduction of traffic as a result of the two shows – we’ve had more time to spend with genuine customers, designers and operators, and we’ve seen international visitors from India, Indonesia, Thailand, the Middle East and Russia.’ Despite all the signs that GETshow 2019 did fine on its own, the 2020 edition goes back to February next year, finishing on the day that Prolight + Sound starts.

2019 Dates:

8 – 11 May

2020 Dates:

16 – 19 February

Venue:

Poly World Trade Center Expo, Guangzhou

Contact:

www.getshow.com.cn

Next level performance in a versatile format

Vero VX’s more compact format brings Vero sound to a wider range of venues. Funktion-One’s unique driver and waveguide technology ensures vocals and musical harmonics are coherent in time and space, providing benefits in clarity, intelligibility and immersive stereo imaging. The high crossover point to the compression driver means increased headroom and reduced harmonic and modulation distortion. The very high electroacoustic efficiency of the horn-loaded mid/high section is supplemented by new bass driver technology up to eight Vero VX cabinets can be powered by a single amplifier. Vero VX’s patented Lambda rigging system ensures accurate array alignment.The naturally flat response does not require corrective EQ, thus preserving headroom and phase coherency, resulting in very clean output, even at maximum power.

www.vero-system.com

BUSINESS: SHOW REVIEW

The InfoComm 2019 sales team assemble at the end of their programme

L–R: d&b audiotechnik’s Amos Jen and Kenny Chng showcased the E-, xC- and xS-series loudspeakers

AVIXA hosted educational workshops

L–R: ESCO’s Christopher and Eric Lim – it’s a father and son thing

InfoComm SEA 2019

InfoComm SEA’s Richard Tan

The inaugural Southeast Asia show enjoyed an early harvest for late sown seeds

WHEN INFOCOMM ASIA CLOSED ITS DOORS IN HONG Kong nine years ago, its organiser – the Audiovisual and Integrated Experience Association (AVIXA) – opted to focus on the Chinese and Indian markets with dedicated, standalone exhibitions. However, the not-for-profit operation hadn’t altogether abandoned the ASEAN territories and raised eyebrows last year with the announcement that it would host InfoComm Southeast Asia in 2019. Having opted to hold the exhibition and summit in Bangkok, some sceptics suggested that the location would lend itself to a Thai rather than a regional audience. Over the course of the three-day show, they were to be proved wrong. ‘We wanted to establish the show soon after Hong Kong,’ commented AVIXA’s Richard Tan. ‘Owing to political instability, unfortunately, the timing was never right until recently.’ In the interim, AVIXA set out with a determined objective to draw in a range of exhibitors onto its floor plan that would provide a template for future growth. Just as importantly, they thoroughly researched ASEAN vertical sectors, including defence and healthcare, that would ultimately entice more current and relevant AV buyers through its doors. The non-virtual trade show floor allowed visitors to get up close and personal with smart digital displays, augmented reality simulations, 3D simulations, collaborative conferencing, command and control systems and devices creating multisensory experiences. ‘I wasn’t previously aware that any AV exhibitions were in existence until AVIXA contacted me,’ declared Gowri A/P A Poobaman from the Malaysian Defence Ministry. ‘We operate various command centres that rely on AV infrastructures, so it has been worthwhile coming to this event as I have been introduced to products and technologies that I wasn’t familiar with previously.’ On the basis of its first outing, InfoComm SEA is set to become a regular annual fixture in the calendar. Resembling

114 PRO AVL ASIA July–August 2019

L–R: Epson’s Cherie Ho and Amy Kwa premiere the EB-L30000U laser projector in Asia

L–R: Acoustic & Lighting’s Lee Heng Han and Eugene Yeo welcome RCF’s Federico Lugli to its booth

an ultra-compact format of its US big brother, a single hall of the Bangkok International Trade & Exhibition Centre (BITEC) ultimately hosted 152 exhibitors. So, while Crestron rubbed shoulders with Kramer and Extron, their open and scaled-down booths promoted relationship building, having been largely stripped of the layers of walls loaded with technological equipment and hidden meeting rooms. Good networking, however, was borne from the economic rationale that any investment in the exhibition had been deemed a risk, as it was largely an unknown. Participating exhibitors willed the show to succeed but, without any guide, they played it cautiously, opting overall to showcase a wide variety of products and solutions. While the more specialist manufacturers such as BXB and Taiden attracted buyers in the translation and conferencing sectors, others faced the dilemma of what products and technologies to promote.

L–R: Crestron’s Eileen Lim, Jacques Bertrand and Raymond Yeo premiered Flex in Asia

BUSINESS: SHOW REVIEW ‘I was in a dilemma on whether to promote our own brand of products or the ones we represent for Thai distribution,’ confirmed P.Audio and One Systems’ Howard Chen. Ultimately, he opted for both showcasing P.Audio speaker products alongside Acme Lighting, an Avid S6L digital console and Powersoft amplifiers together with One Systems outdoor and TW Audio loudspeakers. ‘It was the right decision as we have met a wide range of users interested in both portfolios.’ Surprisingly, Crestron arrived late to the party. ‘Following the launch of our Flex M100-T tabletop conferencing system at ISE, we decided to showcase it here for its Asia Pacific debut,’ commented Raymond Yeo. ‘The floor space available was limited, so we focused on promoting just a few costeffective and competitive solutions tailored towards certain markets such as control rooms and airports.’ Located close to the BTS station entrance, Philips Commercial Displays contrasted with the minimal look opting to show a number of real-world applications such as an airport terminal and a retail space to better exemplify its displays. ‘We either go 100% or we don’t exhibit at all,’ said Rob Fowler. ‘I’ve been pleasantly impressed with both the quality and the quantity of visitors over the three days. I’m hopeful that we’ll get some good business from this.’ A closer inspection of the loudspeaker exhibits further demonstrated the varied expectation levels. Co-hosting with its distributor Fuzion, d&b audiotechnik displayed the xC-, xS- and E-series loudspeakers together with its D-series amplifiers as a backdrop to a café-style seating area. ‘We wanted to enhance the market awareness of our installation products,’ explained Amos Jen. ‘We’ve met a good mixture of local and international customers from various sectors, including some new contacts.’

The Bose team

Howard Chen welcomes visitors to the P.Audio booth

Philips Commercial Displays presented a number of scenes including a shop exhibit

L–R: Adamson’s Ben Millson meets his New Zealand distributor Greer Compston from Direct Imports

BXB’s Ting Wang presented a number of conferencing, live streaming and AVoIP solutions

Total Solutions Marketing represented the ‘L’ from AVL

Both Bose and TOA, on the other hand, opted for a wider selection in the expectation that they would meet visitors from across the spectrum. As such, TOA showcased its HX7 and SR-C8 arrays, ceiling speakers, AM-1 array microphone and HA-101 column models for enticing SIs and consultants working within educational, hospitality, airport and sports facility applications. Bose enticed visitors onto its booth with a barista coffee before serving up ArenaMatch arrays, S1 Pro portable speakers, columns such as the Panaray 402 and the in-ceiling EdgeMax EM180 and DesignMax models. ‘Although we had a good idea beforehand of the visitor profile, we couldn’t be sure,’ explained Bose’s Christian Liebenberg. ‘As this is a regional exhibition, we wanted to promote our brand identity to users working in rental production in addition to installers involved with stadiums, hospitality, retail stores,

bars and restaurants. Fortunately, the decision to display a wide cross-section of products has been vindicated as we have met many new faces from across the ASEAN region. Our new DM2C ceiling speaker has been a key focal point on account of its wide dispersion and high-power characteristics in addition to its unique ease of install design technologies.’ Several other exhibitors echoed Liebenberg in his claim that Thai production rental companies constituted a healthy percentage of the visitor numbers at InfoComm SEA. ‘First and foremost, this is an installation show so we exhibited relevant solutions from Adamson, Allen & Heath, Audac and Xilica,’ commented Sonos Libra’s Alfonso Martín. ‘However, the S7 line array from Adamson has drawn a lot of interest from rental companies. We’ve been packed for all three days – it’s totally exceeded our expectations. The only negative is the fact that I

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Samsung’s Frasier Yee presented the boundless visual LED experience

Taiden’s Christy Fang demonstrates the G3 Paperless Multimedia Congress System

L–R: Shure Asia’s Eva Oegger and José Rivas

have not had a chance to sample the gourmet coffees we have been serving.’ Supporting its Thai operation, Total Solutions Marketing stood out on account of being one of several exhibitors to promote lighting brands. ‘We’ve only taken a small booth, but we have been demonstrating the MA Lighting grandMA3 console together with Ayrton and Chauvet moving heads and fixtures,’ explained Glenn Wong. ‘We simply wanted to reach out to our local customers here in Thailand, but the show has far exceeded our expectations as we have met many potential new customers from Thailand and neighbouring countries.’ While Shure continues to focus on its new 2019 rebranding, the US microphone specialist demonstrated its MXA Microflex advance and complete wireless technologies for use in conferencing applications. On the eve of the show, Shure maximised its exposure in Thailand by hosting a conferencing network meeting. ‘Owing to the limited amount of English spoken in Thailand, our conferencing and simultaneous

L–R: Inter-M’s Jason Yoon and Star Electronics’ Saengchai Chavanaittinant translation products have always done well here,’ commented Eva Oegger. ‘But technologies and markets change rapidly so we need to be ahead of the curve and further penetrate other market segments.’ Having drawn its Asian distributors to Bangkok for a summit prior to the event, Adam Hall Asia promoted the latest 2019 products from the Cameo lighting, Defender, Gravity and LD Systems brands. Like Shure, they helped to draw a greater audience to InfoComm SEA. ‘We’ve invested a lot into this show, but it’s definitely been worth it. Many of the visitors were seeing our latest products such as our Cameo lighting solutions and IPA networkable amplifiers, IMX mixing amplifiers, and CURV and DQOR architecturally modelled speaker systems from LD Systems for the first time,’ explained Chandan Mahtani. While Samsung, with it is inner and outer wall displays of 8K and QLED technologies, had a closed booth design, the vast majority were laid out on an open landscape. A large number of digital signage manufacturers blended in with big brand projection companies including Epson and Panasonic, yet they did not seem to overawe the show floor vista as is often the case at the large shows. ‘I hope AVIXA limits booth sizes and builds in future,’ added Mahtani. Wishful thinking perhaps, even if AVIXA is a non-profit organisation, but a point well made as he was still giving out business cards to interested visitors 10 minutes after the show had ended.

116 PRO AVL ASIA July–August 2019

Coinciding with Ramadan, some exhibitors were involuntarily fasting during InfoComm SEA as the flow of visitors to their booths from opening to close remained constant. ‘Unexpectedly, we’ve had good conversations on the booth with all the visitors,’ confirmed Audio-Technica’s SK Teng. Targeted exhibits included ATUC infra-red discussion units and a number of boundaries, including several Dante-compatible models. Designed for video conferencing in huddle, meeting and conference rooms, a spotlight was shone on the ES954 hanging microphone array, which provides 360° coverage through virtual hyper-cardioid or cardioid outputs. ‘We exhibit at numerous trade shows in Singapore, where we meet local SIs who simply want to catch up. The same visitors to InfoComm SEA actually want to learn about our mics and seem much more focused.’ Many technologies were being unveiled as their Asian debuts, such as Epson’s EB-L30000U lumens laser projector and Calibre’s LED Fusion all-in-one LED wall. Leading AV Thai distributor Vichai 1983 Trading opted to display a portfolio of its brands including new products such as the Renkus-Heinz IC Live X speaker system, Midas M32 Live console and QSC NV-32-H network video system. ‘Exhibitors have really invested heavily in the quality of the booths and the products, so the overall presentation is equal to that of InfoComm and ISE,’ attested Thitikorn Sopchokchai. Above Hall 98 in the Amber and Nile rooms, the 2019 Summit included the AVIXA seminars and flashtrack sessions, nine industry conferences, three technology conferences and 31 technical seminars. The Summit covered topics focusing on live events, digital signage, healthcare and financial institutions, while the Technology Forum hosted classes on AOIT Content, Fundamentals of Acoustics, Live Sound Challenges and When AV Meets IT.

L–R: Renkus-Heinz’s Karl Brunvoll and Vichai 1983 Trading’s Thitikorn Sopchokchai

L–R: Foo Heng Chin from AV United in Malaysia with Esmond Yu from Audio-Technica

The boon of exhibitors and the well-attended forums had successfully diverted 1,777 participants, yet remarkably did not appear to reduce traffic on the show floor. ‘The Summit conferences really helped me to understand the new technologies,’ confirmed CAAS’ Chan Hui Ying. ‘Both the exhibition and conferences were extremely well-organised.’ Several exhibitors tendered services rather than products, including prominent AV consultant Shen Milson & Wilke together with regional systems integrators E&E, ESCO and Ideal Systems. Designing, deploying and supporting next-generation media systems, infrastructures and solutions across the region, Ideal Systems’ strength has traditionally been in broadcast. However, its expertise is being increasingly drawn into the world of AV. In addition to networking, the SEA office was exhibiting several innovative Sonance loudspeaker series solutions, in addition to debuts from Lava Controls and Occam Technology. ‘With it being based in Bangkok, we were not sure whether InfoComm would turn out to be a local or a regional show,’ commented Ideal Systems’ Fintan Mc Kiernan. ‘Fortunately, it has transpired to be a strong regional show, which is exactly what we had hoped for. In terms of the reach of the show and in terms of the manufacturers, the consultants and even the end-users have been really good.’ Prior to the show opening, next year’s dates were confirmed in two halls of the BITEC. A bold announcement perhaps on the eve of a new show, but fully vindicated by its conclusion. While the respected pro-active organiser clearly has a 2020 vision, AVIXA is certainly being spurred on to succeed by the industry it represents.

L–R: Colin Teo, Yosuke Ninomiya, Angelyn Yang and Eddy Padungwej from TOA Thailand

Nicolas Jaud showcases ATEN’s 4K-over-IP solutions for control rooms

Audio-Technica’s SK Teng L–R: Chiayo’s Teresa Hung promoted the latest models and David Kung presented a from the Engineered Series number of wireless solutions including the 925 and 954

2019 Dates:

15 – 17 May

2020 Dates:

27 – 29 May

Venue:

Bangkok International Trade & Exhibition Centre (BITEC)

Total exhibitors:

152

Attendance:

7,743

Contact:

www.infocomm-sea.com

BUSINESS: SHOW REVIEW

KOBA 2019

Now in its 29th year, KOBA extended its appeal beyond the traditional broadcasting community FOLLOWING THE CEREMONIAL CUTTING OF A LONG RIBBON by the Korea Broadcasting Engineers & Technicians Association (KOBETA) and Korea E&EX organisers, a variety of end-users sought their favourite equipment suppliers. The upper-third-level halls targeted broadcast and video equipment, while the ground floor focused on pro audio and lighting. Technicians and engineers immersed their senses in the latest technologies in addition to attending the numerous technical seminars and workshops. In contrast to some of the classes being hosted on exhibitor booths, the dedicated thirdlevel classrooms were better suited to education. Having hosted a successful Axient Digital microphone workshop in 2018, Samasound was assisted this year by Shure Asia’s Andy Fong to promote Shure’s latest TwinPlex microphones. At first glance, it appeared like business as usual on the booth downstairs where the latest Allen & Heath SQ and dLive series of consoles, Genelec monitors, HK Audio Contour X, Linear 3 and Cosmo C8 speakers, K&M and PreSonus products took up the majority of stand space. Since having been acquired by Hibino in 2018, the distributor has also taken on responsibility for Klotz Ais, Martin Audio and Neutrik. Mixing consoles were in abundance with Yamaha promoting its entire range of CL, QL and TF digital consoles in addition to the PM7 and PM10 Rivage family. Avid S6 and S6L boards were evident on various dealers’ booths such as JD Solutions, Koil Corporation and Music Metro, the latter also demonstrating the API Box 2 and modules to include into a Lunchbox, together with PMC result5 and twotwo speakers and iZotope. In addition to Avid seminars, GM Brandon Han assisted producer Jonathan Wyner in delivering technical audio mastering tips using iZotope’s 08N2 and DDLY dynamic delay. Solid State Logic dealer SunHooMedia exhibited a Live L200 work surface and Tamura demonstrated a 22:2 multichannel mix setup using NT110, NT660 and NT880 consoles. Ingang Audio promoted the Calrec Type R radio solution together with the Apollo, Artemis, Brio12, Brio36 and Impulse consoles alongside products from AEQ, ARX, Blue, BroaMan, Crest, Optocore, Peavey and Samson.

L–R: Capstone’s Jesse Park, Alex Schloesser and Kevin Kim presenting a large portfolio of microphones

Samasound’s David Son (middle) welcomes Allen & Heath’s Val Gilbert and Jamie Ward

118 PRO AVL ASIA July–August 2019

Uly Hung promoting BXB’s voting system

Klausys’ Haeyong Choi promoted L-Acoustics’ A15 and KS21

Sound Solution’s Jin-Oh Hyon conducted Astro Spatial demonstrations

Symetrix’ Hock Thang (right) supported Sound Solutions

Audio-Technica showed its podcasting microphones

Taking up real-estate among DaVinci software, Deckline and Terranex AV exhibits, a Fairlight console was used to demonstrate Dolby Atmos audio on the Blackmagic Design booth. Co-habiting with a Studer Vista 5 Black Edition console on the Dongyang Digital booth, Lawo promoted an mc256 console together with the Relay VRX+ virtual radio in a box, OnAir 2500, IP video infrastructure products and the A__stage64 stagebox. Soundus relaxed its guests with comfortable seating while displaying its brands. The SD7 and SD12 Vulcan consoles from DiGiCo rubbed shoulders with the K-array KH series of large-format beam-steering arrays together with a Capture conferencing microphone. Rounding off the Soundus offerings, a focused selection of beyerdynamic TG1000 wireless, Ultimate Ears earphones, Coda HOPS and APS series, Waves Soundgrid, Rane, Aviom and Klotz Ais cables added to its solutions provider credentials. The aptly named Sound Solution grouped Midas consoles alongside other Music Tribe brands including Lab.gruppen amplifiers and Klark Teknik outboards. In addition, a large product selection was on show from RCF, including the latest NX and HDL speaker additions, while Sommer Cable and Symetrix were all represented. The central exhibit consisted of an Astro Spatial surround sound system creatively demonstrated using Adamson Point Centric 8 speakers. Targeting a slightly different audience, BLS promoted Braehler, DPA, Digigrid, Focal, Manley, Prism and Waves technologies. DPA microphones and a Waves Emotion LV-1 mixer were used for live sets played by the Kim Jung Boom Jazz Trio. New to the BLS portfolio, TASCAM showcased its entire range of products, including the latest half-rack-sized MM-series of Dante converters. Harman distributor Tech Data fired up the latest JBL VTX A12 line array alongside other VTX and VLA models and Soundcraft Vi1000 and Vi7000 consoles. Despite several AKG mics and headphones being displayed, the company’s emphasis was centred on AMX and SVSI technologies including the NX3200 platform. New kid on the block Capstone clearly had end-users in mind with its display of mics from brands such as Blackloud, Heil Sound, Point Source, Roswell Pro Audio and Soyuz. Location recordists made a beeline for the Fine Trading Co where a large selection of Schoeps microphones including the MiniCMIT, V4U condenser and Colette modular

L–R: Innostar’s Joe Tan and LaON Technology’s Miyoun Park let the Genie out of the bottle system were on display with Ambient, Sonosax and Zaxcom. Like Avid, Sennheiser splits distribution throughout South Korea according to market segment. As such, the evolution G4 wireless series, digital 6000 and 9000 wireless systems, Ambeo VR 3D audio technologies and a vast range of wired and G4 wireless microphone products together with Neumann studio mics featured on several booths including Koil Corporation and Audio Video Expert. The Seki booth exemplified why KOBA is not a bespoke broadcasting trade show. Exhibits including the Bose S1 Pro, L1 and AM20 speakers, together with Audio-Technica turntables, BP473 shotguns, ATUC 50D conferencing systems and ATW wireless systems either deterred or appealed to a wandering attendee. The Mipro team flew in from Taiwan to highlight the WL-22 violin, GT-24 guitar and SW-32 saxophone instrument wireless mics in addition to the more established MA series of portable wireless cabinets and ACT mic systems. Korean manufacturers were evident, with Inter-M’s commanding presence reinforcing its powerful status in the domestic market. Following further government legislation, evacuation and emergency solutions including the 6000 Matrix and CS series of speakers are in vogue. In contrast, the highpowered four-channel DSA series of amplifiers and CLA-8K line array were also on display. With half of the Kevic booth dedicated to a large display of FBT speaker systems, the other half featured solutions from the Kevic catalogue, including the DP5000 digital PA controller. Vascom showcased the WRT wireless microphone family and a

DJ Kwon (right) and his Soundus colleagues promoted networking together with their brands including beyerdynamic

BUSINESS: SHOW REVIEW

Metro Music’s Brandon Han hosted an iZotope music and postproduction workshop

L–R: BLS’ Dominic Ahn and Jin Kim welcomed TASCAM’s Yoshiro Yosoi to its booth Bosch Communications’ Patrick Han and the latest EV MFX coaxial touring monitors

Dasan SR’s Hwimin Kim promoted EAW’s RSX Dante-networkable speaker systems

L–R: Jeoung and Chloe Jeoung with Kevic’s DP5000 digital PA controller

Vascom’s Patrick Han showcased Ram Audio’s amplifiers for the first time number of loudspeakers including the VSK line array. The Korean manufacturer’s 3D real presence video conferencing system was separated from the Renkus-Heinz IC-X and CX speaker series, together with a selection of Ram Audio amplifiers including the Zetta, MDi and latest Pi4 four-channel amplifiers. DLogixs promoted a similar concept by exhibiting its own brand of products including the 7000 series networked PA and a host of amplifiers and loudspeakers. As the distributor for Bosch, the company also exhibited EV speakers such as the Evolve 50 and EVC, in addition to the Dynacord family of TGX amplifiers and the new Sonicue software. Meyer Sound once again took up residency with Ingang Audio. On show were the MJF-208 and MJF-210 monitors among others, while the UP-4slim and Ultra X-40 made their KOBA debuts. Klausys promoted L-Acoustics’ products in its role as

Inter M’s Jason Yoon unveiled the latest DSA-500Q and 2000Q multichannel amplifiers

dedicated distributor. This year, the elegant booth was stripped back for networking with a single display featuring an A15 and KS21 combination together with the X4i coaxial cabinet. New to its portfolio was the Kokl cabling brand. Having taken a KOBA break in 2018, Dasan SR made a welcome return, keen to highlight the latest Powersoft T-series and X4L amplifiers, EAW RSX Dante-networkable loudspeakers and HEDD ribbon-tweeter monitors. Other notable loudspeaker displays included the mighty Jericho on the Danley Labs booth, Tannoy point source and column cabinets (MPak) and the TW Audio Vera20 and E6 German imports residing alongside a Christie display courtesy of Star Networks. Looking somewhat out of place upstairs among the cameras, Calle Media displayed an Audiocenter K-LA-28-DSP line array. In addition to showcasing Daktronics displays and processing, Kinoton Korea premiered JBL speakers. Several lighting exhibits were focusing their spots and moving heads on venue designers and theatre owners rather than broadcasters. While Hansam System was absent this year, Lugh Scape (DTS, Luminex, Rosco and Ushio) and Total Plus (Varilite and Strand Lighting) were shining brightly. Celebrating its 25th anniversary, Robe was keen to illuminate its section of the hall with a mix of Spiiders and MegaPointe LED moving heads together with RoboSpot. ‘It’s important that we support our distributor, Art Tech Lighting,’ confirmed Jens Poehlker. ‘The South Korean market is not only mature, but also very diverse. Our customers include theatres, rental companies, houses of worship and car manufacturers.’ While audiences generally thinned out more frequently downstairs, the video broadcasting halls on level three kept crowds transfixed by engaging with their audiences. The Bolt high-speed Cinebot possibly took star billing. Blackmagic Design, Fujinon, Ikegami, Panasonic and Sony called upon female subjects to pose for long durations on studio sets, where visitors had the opportunity to zoom the cameras in to the subjects for a closer inspection. AVX was tucked away among these crowded aisles offering audio for video solutions from Deity, Sennheiser and Zoom.

Blackmagic’s URSA 4K technology on trial Ross Video drew large numbers by promoting its Overdrive technology, hosting live news programming on its booth. Graphics, production and UHD mobile production solutions, including the Carbonite, DashBoard, Furio, Inception, OpenGear, Overdrive and Ultrix platforms, were all demystified by the Canadian manufacturer’s team. Finally, comms were evident with the more established Riedel Artist and Bolero platforms, together with the RTS Odin main frame, while Korean manufacturer LaON Technology unleashed its wireless, hybrid 5GHz Genie out of the bottle. Well-organised and vibrant, KOBA’s appeal is evident as it refuses to limit itself to the confines of broadcast. The announcement that the 30th edition next year will be reduced to a three-day format was greeted with positivity. By exhibiting a washing machine and vacuum cleaner, Samsung also demonstrated that any perceived restrictions of broadcastrelated technologies on show at KOBA can be broken.

The AVX booth hosted several brands including Zoom and Deity Microphones

Calrec’s Ace Yip (left) and Anthony Harrison (middle right) supported their distributor Ingang Audio

PreSonus’ Laz Harris with the flagship CDA point source speaker system

L–R: Robe Lighting’s Jens Poehlker and Harald Von Den Stemmen assisted their distributor Yoon Dae-In

2019 Dates:

22 – 25 May

2020 Dates:

13 – 15 May

Venue:

COEX Convention and Exhibition Centre, Seoul

Total exhibitors:

906

Attendance:

43,905

Contact:

www.kobashow.com July–August 2019 PRO AVL ASIA 119

BUSINESS: SHOW REVIEW

L–R: Nexo’s Joe White in the demo and live performance area it shared with Yamaha; IES’ Rasesh Parekh in the HK Audio quarter of the company’s stand

Palm Expo India 2019 L–R: Rajesh Mittal and Deepak Gracias from QSC India

Harman had its usual large stand at the entrance to Hall 1

ABEC Exhibitions and Conferences ruffled feathers with the name choice for its new AV integration conference to be held concurrently with Palm India

TRUE TO ITS WORD, PALM EXPO SHOW ORGANISER ABEC fulfilled its promise of last year to expand into vertical markets. However, some took issue with the nomenclature: Integrated Systems Expo, or AV-ISE. Such was the industry confusion about the name that AVIXA, co-owner of the Integrated Systems Europe (ISE) show in Amsterdam, was compelled to clarify it had no relationship with the new show, before ABEC carried out a last-minute name change. In a press statement issued three days before the event, ABEC announced that the show would now be called AV-ICNx to describe the integration, communication and networking event in a ‘spirit of cooperation to Integrated Systems Europe’. ‘We have done it for the good of the industry; it was not our intention to confuse,’ said ABEC consulting director, Anil Chopra. The problem was, though, that people were confused. A spokesperson from Harman India’s marketing department expressed surprise on day one when informed that this wasn’t an official ISE show and, though the company hadn’t actually taken a stand in Hall 3, many others made the same assumption. ‘We were led to believe that it was ISE and it was going to be brilliant, but it was nowhere close to what we were promised,’ said White Eagle’s Arun Kalra, who’d taken a stand in Hall 3 and was angry at the low level of traffic in the hall on day one. Things had got better by the end of the threeday event, he admitted, but he wasn’t keen to rebook. Happier with the new hall was R&S Electronics, showing Pulz Electronics, Gotham Cables and SurgeX ranges. ‘The first day was quiet and we weren’t happy at all, but after that it’s been really good,’ said Anirvan Ghose. ‘We’ve been seeing the right sort of people and we’ll definitely come back next year.’ Bose was similarly supportive, having participated via its distributor, Qubix. ‘It’s year one and we need to give them time to get established; we’re happy to stick with it,’ said Vibhor Khanna from the manufacturer’s stand in Hall 1. ‘We got a little confused by the name, but there was some clarification from ISE. The show is getting bigger and they are trying to get into the install market.’ Confusing names aside,

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Inside the dBTechnologies Demo Qube expanding into the biggest-growing market sector is a logical move as ABEC aims to grow its show. As temperatures soared in the pre-monsoon heat, volumes also rose in the Demo Qubes as Bose, RCF, Pope Professional, dBTechnologies and Beta 3 showed off their gear. dBTechnologies was showcasing its Ingenia and Vio series. ‘The market is getting to know our name and is more aware of us,’ said Manuele Poli. ‘The Qube is ideal as it’s giving us a lot of visibility.’

The Harman Live Arena hosted a plethora of acts, while opposite, Yamaha and Nexo were doing the same. ‘Yamaha’s done a great job; it’s a really good setup and I’m impressed by the show,’ said Nexo’s Joe White. ‘There’s a lot more audio energy here than there is in Frankfurt.’ The recording element of the show seemed to have shrunk this year, though Ansata was flying the flag with a healthy representation of both products and overseas staff from Avid, Amphion, Barefoot and DPA Microphones, as well as d&b audiotechnik. ‘The first day was slow at the beginning but, since then, we’ve been seeing really good people – not just engineers but the buyers themselves,’ said Avid’s James Baker. ‘The market is maturing – it’s gone from strength to strength in terms of professionalism and the level of attendees.’ Adamson was enthusiastic about its participation this year. ‘It’s the first time we’ve had a big stand like this,’ said Ben Millson from the stand of distributor, Sonotone. ‘It’s been very busy; since the beginning of this year, we’ve been gathering pace in India and the brand’s just exploded here.’ Martin Audio’s Robin Dibble, exhibiting with distributor PTC, echoed sentiments about the quiet first day. ‘Today is much busier; we’ve been seeing all sorts of people from the touring market. It’s the first show we’ve done with our new

The HiTech team was manning a stand that was bigger and more brand-filled than ever

BUSINESS: SHOW REVIEW

GM Audio was celebrating 25 years of representing DAS

Team Adamson confirmed a sale to REC Pro Sound & Light

Sonodyne’s new SVM Series wireless mic range

Allen & Heath’s Rob Clark demonstrating the dLive console

Rental company Best Brothers confirmed an upgrade to DiGiCo’s SD7 Quantum and ordered another

distributor and we’re relaunching Martin Audio across the brand.’ Established Indian distribution companies seem to be going from strength to strength, adding new brands and real-estate to their Palm stands. IES had a 235m2 stand with four separate areas to display Robe, Avolites, Madrix, HK Audio and Powersoft, while the busy HiTech stand saw Klang co-exhibiting with DiGiCo and L-Acoustics presenting its new Arcs family as well as a plethora of other represented brands including Bose, RCF, Sennheiser and Klotz Ais. Sun Infonet was showing Allen & Heath, Quest and Audio Focus alongside Meyer Sound and Shure. ‘We’re

seeing less people this year but that’s a good thing as most visitors know what they want,’ said Meyer Sound’s Sandeep Braganza. Launching the TwinPlex lavalier subminiature headset mic and the MXCW wireless conferencing system to the Indian market, Shure’s Chicco Hiranandani added: ‘The Shure Indian office was established after Palm last year so this show has been a good way for us to connect with all the local dealers.’ Honeywell India was using its existing R&D and manufacturing capacities to enter the domestic pro audio market. It was launching the Zeta plug-and-play range, the Alpha point source series and the Zoe line array system. ‘The

Sennheiser’s Hrishikesh Pingle with the SK 6212

show’s been exciting and interest in the products has been very good, especially in our line array,’ said Jasmeet Singh Bhatia. ‘Honeywell has been in India for 30 years and the brand is well accepted.’ Other new products for India were Sonodyne’s new SVM Series wireless mic range, SMX tabletop mixers, SLA power amps, SLX passive speakers and SPA powered speakers. Celto Acoustique showed the IsoRay 10-inch coaxial line source, while Sennheiser had the SK 6212 miniature digital transmitter for theatre and film applications. The overall impression of the show was that it is maturing fast and a general perception of reduced traffic, which by and large was seen as a positive, with less crowd and more quality visitors, was born out by show figures revealing a 4,000 drop over last year. ABEC is making a concerted effort to attract many aspects of the entertainment industry: audio, lighting, DJs, rigging, and a host of workshops, seminars and two awards ceremonies. It remains to be seen if AV integration can find a foothold in this busy annual show.

L–R: Dexter D’Souza and Frank Andrewartha with the Quest speaker range on the Sun Infonet stand

L–R: Celto Acoustique’s Siddharth Sood, Nicolas Lucas and Arthur Felix

Gotham Audio’s Franz Ammann (centre) with Anirvan L–R: Vibhor Khanna and Vishal Srivastav from Bose Ghose and Ramkrishnan MK Professional India from R&S Electronics

L–R: Honeywell’s Jasmeet Singh Bhatia and Cherian George debuted the new pro series

Audio-Technica’s Robin Ghose launched camera mount prosumer mics

2019 Dates:

30 May – 1 June

2020 Dates:

28 – 30 May

Venue:

Bombay Exhibition Centre

Total exhibitors:

311

Attendance:

23,241

Contact:

www.palmexpo.in July–August 2019 PRO AVL ASIA 121

BUSINESS: SHOW REVIEW

InfoComm Orlando 2019 This year’s show has us wondering, is it the end of the AV world as we know it?

InfoComm 2019 was staged at the Orange County Convention Center THE AV INDUSTRY LOVES A BUZZWORD. IN RECENT YEARS, InfoComm has put collaboration, Internet of Things and AV/IT convergence into the forefronts of our minds. AVIXA CEO David Labuskes made several references to the word ‘experience’ prior to InfoComm 2019. Transforming a barren show floor into a three-dimensional platform of technology and networking, InfoComm is itself an experience. The most recent physical manifestation of our global marketplace allowed visitors to experience ecosystems. Exhibitors blew individual fanfares to herald the advent of their new products beckoning with eye-catching 8K displays, bursts of high SPLs, educational seminars and models. However, the sum is much greater than the parts. Over the years, an increasing number of exhibitors have created application showcases on their booths that show how the products interact in a real-world scenario. This year, the narrative was expressed time and again on countless exhibitor booths. These resultant experiences demonstrate value, while solving problems in classrooms, stadiums, broadcast applications, houses of worship, and huddle and conferencing rooms. ‘You’re going to hear discussions about new and expanding and more adopted protocols,’ furthered Labuskes. ‘With more integrated AV ecosystems and security solutions for AV over the

Williams AV’s Ricardo Frias with the Audio Presenter Hub

Peter Er demonsted Danacoid’s remote AVoIP capabilities

Panasonic’s Pro PTZ camera lineup

122 PRO AVL ASIA July–August 2019

Datapath’s Kay Mumford

CEO David Labuskes and the AVIXA team declared InfoComm 2019 open

Audinate’s Joshua Rush presented Dante as a software

network, the focus is now on the user interface. AV is relevant to the enterprise decision-maker because it solves problems and creates outcomes.’ Those early adopters of networkable products are reaping their rewards. However, for the producers who resisted connection to AVoIP, AES67, Dante, Milan, SDVoE or HDBaseT networks, the future may not be so bright. AVIXA chairman and QSC CEO Joe Pham shared his vision of the AV future on the first day of the show. While some of the assembled journalists left the one-hour discussion with that sinking feeling that it was the end of the AV world as we know it, others were enlightened by the opportunities on offer. Since joining QSC in 2004, Pham has been instrumental in transforming what was then an amplifier manufacturer with a US$1 million turnover in loudspeakers. Today, the globally recognised brand of high-performance loudspeakers, digital mixers, amplifiers, audio processors, digital cinema solutions and the Q-Sys software-based AV and control platform is at the forefront of innovation. ‘Delivering exceptional experiences is critical to AVIXA’s vision,’ Pham opened. ‘It’s not about new technologies operating in isolation, but how technologies come together to create new customer value, while transforming the economics of our industry. Over the last several years, our industry has converged and evolved, shifting from discreet, purpose-built, functional hardware to integrated AV hardware/software platforms that are now becoming a critical part of a broader IT ecosystem. As with other industries that have taken a similar journey in the past, these unified AV/IT ecosystems will produce powerful new types of data, creating new insights that will transform the economics of our industry.’ ‘Marc Andreessen’s 2011 WSJ article, Software Will Eat the World, resonates for our industry today,’ Pham added. ‘On the business innovation side, we’re seeing new cloud-based delivery and consumption models along with platform and ecosystem solutions that create value over an entire customer lifecycle – not just at the point of AV commissioning and installation. The new business strategy is to produce, harvest and analyse AV data within the broader IT ecosystem.’ The Q-Sys adoption of Audinate’s Dante as a software heralds this new era of business development. To be made available in 2020, scalable software licences will provide native Dante integration for Q-Sys, removing the need for additional

Renkus-Heinz president Matt Czyewski

hardware I/O or external configuration software. Operating over a standard IT network infrastructure, Dante audio data works seamlessly with Q-Sys AV&C data, eliminating bridging or combining schemes to manage both Q-Sys and Dante connected peripherals. ‘The AV industry is shifting from bespoke, purpose-built AV equipment to software-based solutions running on standard computing platforms,’ explained Audinate’s Joshua Rush. The latest initiative follows the development of the Dante AV Module that enables AV networking. ‘It was natural to partner with QSC, one of the leaders of this software-based strategy, to jointly develop the first software-based Dante solution. We are excited about the new ways that Dante can be deployed as software that weren’t previously possible.’ QSC demonstrated the next chapter of Q-Sys and the value of a standards-based AV ecosystem with the launch of the Reflect Enterprise Manager. The cloud-based platform provides remote management capabilities for all connected Q-Sys and third-party devices. Reducing AV support costs while increasing AV system uptime, Reflect Enterprise Manager draws on Q-Sys to provide visibility and secure remote control of all connected AV devices across an enterprise in real-time. QSC’s TJ Adams confirmed where the industry is heading. ‘Q-Sys has allowed us to embrace our new IT customer and present a more holistic approach to customer lifetime value. This next phase of the Q-Sys ecosystem, and its deeper

Adamson’s Jochen Sommer demystified the virtues of the Milan-ready CS7p cabinet

BUSINESS: SHOW REVIEW integration with the IT enterprise, will provide access to powerful new types of AV data that has the potential to create new value and transform the economics of our industry.’ As the first adopters of audio-over-IP products, DSP innovators are now extending their reach throughout the signal chain from source to mouth. Having acquired Cambridge Sound in late 2018 prior to rolling out Crowd Mics at ISE, Biamp unveiled the desono series of in-ceiling and pendant coaxial speakers together with Parlé beamtracking microphones. Designed for conferencing applications, the attractively styled additions interface with users and extend their appeal to a larger audience than the SIs and facility managers who have until now discreetly installed and configured Tesira DSP units. ‘By introducing our desono conference speakers, we are extending our audio reach from microphone to loudspeaker,’ confirmed Joe Andrulis. ‘IT and AV technology managers now have the ability to bring Biamp’s audio to rooms outfitted with Hangouts Meet hardware solutions. Our products and solutions are no longer confined to the rack. By adding Parlé X-series support to Devio, we are providing our customers with end-toend solutions that meet the entirety of an organisation’s AV requirements in all spaces.’ Having released the AFM-20DSP 20-port audio matrix with interchangeable I/Os, Kramer AV has further demonstrated its credentials and is moving beyond the box. Its collaboration with Xilica adds DSP to its growing audio portfolio and exemplifies the current trend of well-poised producers to compete for whole projects rather than fractional scraps. Crestron continues to develop AV technologies with both the IT facility manager and corporate customer in mind. The immense booth was warranted, judging by the amassed crowds blotting out the carpet design for all three days. Simplified, functional and elegant dialer interfaces, Mercury tabletop UC and AV solutions, touchscreens and media presentation

L–R: EAW’s Kenton Forsyth, Bryn Richards and TJ Smith with the latest KF810P line array

Ross Video’s Todd Riggs promoted Ultritouch

Lectrosonics’ Karl Winkler with the D Squared system

Sonance's Chris Perkins presented a selection of 70V speakers systems

Forever young!

Matt Larson and XTA’s MX36 console switching system controllers received equal billing as server-based software solutions, XiO cloud connectivity, room scheduling and wireless presentation technologies. Working with Intel, Crestron’s development of DM NVX native network AV encoders and decoders connects displays to the AVoIP world. The Open Pluggable Specification-based decoder transforms a display into a native DM NVX endpoint. Specified for projects on account of its flexibility and scalability, the decoder’s long-term appeal is assured through firmware updates – the latest codec has further decreased latency down to 2.5ms. The presence of an extensive range of surface-mount, drop-in ceiling and pendant models within the Air, FS, Saros and Vector loudspeaker families has been emboldened by the arrival of Avia and MP Dante-networkable, multichannel amplifiers. Integrating Crestron Control, the Avia 12x8 DSP and UC DSP series will take the manufacturer beyond its more traditional educational and corporate spaces. Completing its audio jigsaw – for now – is the inclusion of the Avia Audio Tool Software to ensure non-audio-savvy technicians can be guided from the Guided Steps learning centre and dashboard. Mindful that Dante continues to dominate the audio-overIP landscape, the Avnu Alliance has extended the Milan networking club. RCF announced itself as the latest member of the pro AV segment. Following the introductions of the first Milan-ready products – in the form of the L-Acoustics P1 processor and Adamson CS7p speaker system – d&b audiotechnik, Meyer Sound and L-Acoustics have made further contributions in the form of the DS20 network bridge, LS10 AVB switch and the Galaxy Galileo DSP platform, respectively. ‘InfoComm is committed to serving as a catalyst for market growth by offering content and programmes that speak to the outcomes achievable through AV solutions,’ furthered

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July–August 2019 PRO AVL ASIA 123

BUSINESS: SHOW REVIEW Labuskes. ‘As we build greater AV awareness, we believe the InfoComm show will continue to draw more and different market participants from content creators to enterprise decisionmakers.’ Pre-show elements – including the TIDE conference, Centre Stage, The Park and an Immersive Technology Experience – continue to enhance the appeal of InfoComm. The main magnet, however, continues to be InfoComm’s training and education programme, allowing professionals to sit Certified Technology Specialist (CTS) exams. It’s several years since AVIXA decided to open up the audio demo rooms a day prior to the show. This initiative has provided a select crowd of AV consultants and visitors to take advantage of the relatively calm traffic conditions in the OCCC and properly understand the brands demonstrating their latest technologies. Following the launch of the IS7 loudspeaker at InfoComm 2018, Adamson Systems followed this up with its Milan-ready CS7p model. This year, the canny Canadians demonstrated the virtues of their S-, IS- and CS-Series speaker systems in addition to introducing the IS219 dual 19-inch subwoofer. Highlighting the Ultra-X40, UP-4slim and UPQ-3D cabinets with the USW-210P narrow subwoofer, Meyer Sound immersed visitors in its Sonic Lounge using the prototype Spacemap Live spatial audio mixing tool, before relaxing them with a mixture of music, food and drink. While L-Acoustics invited visitors to listen to a L-ISA Immersive Hyperreal Sound experience both on the show floor and offsite at the Coil Learning Centre, it preferred to focus its attention on the latest Arcs A10 and A15 speaker systems supplemented by the KS21 subwoofer in addition to the small-yet-mighty X4i. d&b audiotechnik unveiled its latest A-Series cabinets incorporating PanFlex technology, but drew audiences with demos for its xA, xC and xS systems together with a DS100 Soundscape immersive experience using E6 models. Immersion was a general theme among most of the audio demo rooms. Renowned FOH engineers Robert Scovill and Buford Jones were at the controls of an Avid S6L console interfaced to Astro Spatial Sara II Premium 3D software played out on Alcons Audio ribbon-based CRS8/9090 cinema systems, VR8 cabinets and the latest L-series true line source vertical arrays. Astro Spatial technology was also employed by Martin Audio where a host of different products for wide-ranging verticals, including the new WPS line array, CDD Series and Adorn line, were tested. In addition to putting the FLX12 Utility Box through its paces, Danley Sound Labs removed the wraps from the newly developed J7-95 Jericho Horn and Studio One monitor. Nexo launched the P12 point and L15 subwoofer combination on the Yamaha booth, but used its joint demo room to showcase Yamaha’s latest AFC4 active field control

Jim Hallington showed off Clockaudio’s new TIM-1000

The Bose demo room

Biamp’s Joe Androllis highlighted the virtues of Crowd Mics

system in an immersive setup using the versatile ID24. The Geo M6, M10 and M12 arrays together with the MSUB15 and MSUB18 low-frequency extensions were also demonstrated. There was another hint of immersive technologies on display in the Renkus-Heinz suite. Like Nexo, the Californian innovator is celebrating its 40th birthday and this year focused on highlighting the virtues of the IC-Live X series. Vue presented a ‘Reimagine integration for the 4K generation’ showcase that explained the latest features integrated into the e-Class family. These include Dante integration, QSC Q-Sys integration options and Danteenabled IP audio distribution with a POE-enabled version of the e-351 Nano speaker together with local amplification for networked audio in the es-269V with built-in VueDrive. ‘We’re now setting our sights on distributed audio by solving real-world integration challenges with true, next-generation technologies,’ explained Ken Berger. QSC presented its Premium Business Solutions range of audio products including the AcousticDesign Series of speakers, CX-Q amplifiers and Reflect Enterprise Manager. Similarly, Bose promoted over 50 new products for a variety of applications including DesignMax and ArenaMatch speakers, ControlSpace processors and PowerSpace amplifiers. Complete solutions for any space were demonstrated by following an actor set against an Absen LED wall transiting through an airport followed by a hotel

Vue Audio’s Ken Berger helped to create a bespoke demo

L–R: Patrick Almond and Summer Xu on the Studiomaster booth

124 PRO AVL ASIA July–August 2019

reception area, bar, ballroom and onto an education facility and stadium. Forever pioneering a solo course of ingenuity, K-array was premiering Rails among the less than eye-catching AxleKRX402, KA84 amplifier and KM112 products. Highlighting a fluorescent light as an innovative audio solution remains as challenging as showcasing the minute Lyzard speaker system. It takes time. Luckily. K-array is patient and the products eventually get noticed, however small they are. ‘We are supporting K-array USA in educating visitors with our entire portfolio of solutions including portable, niche installation and live production systems,’ commented Andrea Torelli. Having established a US office in 2017, Coda presented the N-APS dual 6.5-inch arrayable point source speaker with the aid of a live singer/guitarist. Community, on the other hand, highlighted the L Series LVH-900 beamforming venue horn and modular I Series MVA600 for stadiums and other large venues

New kids on the amplification Ashly Audio’s Noel Larsen block – Scott Robbins from unveiled the FA Series LEA Professional amplifiers

together with the latest ALC amplified loudspeaker controllers. ‘This show differs from Las Vegas as we see more personnel from cruise ships, theme parks and less from the theatre and live production sector,’ observed Kim Muurholm Jurgensen. True to its cause of analogue audio excellence, KV2 Audio wooed theatre engineers, venue technicians and rental operators using combinations of ESR212, ESR215, SL412, ES1.0, ES2.6 and EX12 tops with VHD2.18J, VHD2.21, SL2.15 and EX1.8 subs. Incorporating a trans-coil design, the deceptively powerful 5-inch ESD Cube was paired with the ESD1.12 low-frequency extension unit. Bosch highlighted the arrival of its Dynacord Sonicue software and Electro-Voice PrEView App, in addition to the new MFX coaxial monitors and an installation version of its X-Line Advance flagship, the XLAi. Crest Audio rolled out the Versarray Mk III and Versarray Pro ribbon line array systems, while presenting the Tactus mixing system. Blending into a ceiling, the Strategically Hidden Loudspeaker was revealed by AtlasIED. They may be from the same family, but the parts continue to be greater than the sum within the RCF Group. dB Technologies promoted the Vio L212 rigging demonstrations, while previewing the new slimline Vio W10 monitor among other exhibits. Likewise, RCF highlighted a range of install and touring products including the HDM 45-A and Business Music Solutions. Stablemates EAW appeared to have been given a new lease of life in which large audiences continue to discover the benefits of Anna, Otto and ADAPTive systems, for which a sleeker Stealth version of the Adaptive Series was showcased. In addition to the 800 Series, the New England-based company revealed the RS Series RM 121/123 and RS 151/153 self-powered models, the KF810P installation line array with SB818P|F companion sub and MKD point source speakers. In terms of visitor traffic, congestion was perhaps heaviest around the LG booth with its head-turning transparent OLED displays, including a wave and waterfall design. Christie may have a foot in both camps having launched MicroTiles LED at ISE, but its lineup of new 4K laser and LCD models including the LWU900-DS demonstrates its continued belief in cuttingedge projection. Barco offered Belgian beers to guests who were left equally lightheaded by the Entertainment and LED XT projectors, ClickShare or the E2 Gen 2 screen management processors. Renowned for its immensely sized scoreboards, Daktronics promoted its latest narrow LED videowalls. Offering 4K and WUXGA options and up to 37,000 lumens of three-chip DLP imaging, Digital Projection promoted its upgraded Titan series of laser projectors together with the Insight 4K HFR 360 multi-view 3D model. Laser projector

BUSINESS: SHOW REVIEW technology was also on display at Epson where the Pro L10Series with its interchangeable lens and Pro L30000U created visual impact in addition to the ELPLX01 and ELPLX02 ultrashort-throw lenses. An esports broadcasting studio, immersive museum and classroom applications were created on the Panasonic booth to better exemplify projectors such as the PTRQ22K 4K+ and PT-RQ50KU three-chip DLP laser models. Many new products jostled for attention on the immense Sony booth, including the SRG-X400 and SRG-X120 PTZ cameras, Bravia 4K HDR Pro displays and VPL-FHZ laser projectors. The age of the smartphone shows no signs of abating, for which assistive listening continues to rely on BYOB devices. Having added mobile phone compatibility to its LQ Series of intercom-over-IP devices, Clear-Com was kept busy promoting its LQ Agent-IC software which allows Intercom IP app users to connect via mobile phone. A year is a long time between shows as Williams AV exemplified. BluePOD Solo and Conference Mate technologies together with the Wavecast Eight/Wi-Fi, FM+ and DigiWave 4.0 updates drew significant interest. Listen Technologies has been one of the pioneers in the assistive listening field and its scalable Listen WiFi v2.0 solution offers up to 48 channels of audio to up to 1,000 listeners. Sennheiser previewed its own approach to this product category with its ConnectStation CS1-M hub and companion Wi-Fi access point module together with its MobileConnect smartphone apps. While Cockpit Control, Speechline Digital and TeamConnect Ceiling 2 mic array technologies vindicated the German producer’s claim that the future of audio is here, its more traditional G4 head mics, wireless conferencing and Digital 6000 wireless products enticed venue operators. Shure’s users can download the SystemOn software onto their tablets and phones. Resplendent in lime green, the Illinois-based manufacturer also cosmetically enhanced its MXW6/8 and ULXD6/8 wireless boundary and gooseneck base transmitters, while the latest MXA910 ceiling arrays, MicroFlex Conferencing and TwinPlex mics were on show. In addition to displaying ES925 modular gooseneck models, Unipoint boundaries and the 5000 Series wireless system, Audio-Technica showcased a huddle room/video conferencing application. The four-capsule setup of ES954 hanging arrays controlled by an ATDM-0604 SmartMixer provided 360° room coverage. Lectrosonics unveiled D Squared, its fourth-generation digital architecture combining a half-rack, four-channel DSQD receiver and DBu/DHu transmitters. beyerdynamic depicted real-life scenarios using the Unite and Phonum platforms, while Audix connected its M55WD, M70WD and M3DK microphones to the AES67 networks via Digital Network boxes. Not necessarily created for the networks, specialist microphones were in abundance to appeal to house of

L–R: Equipson’s José Luis Vila and Riccardo Martinez showed they are Nuts about audio

Anne Berggrein below a 4097 Core supercardioid choir mic

K-array’s Andrea Torelli displayed the Anakonda, Rail and Lyzard speaker systems

Joe Pham shared his vision of the AV industry

worship musicians and singers and venue operators. While DPA unleashed the d:sign 4097 Core supercardioid choir mic, Point Source Audio presented its CO2 Confidence Collection. Celebrating its 25th anniversary, Clockaudio exhibited the TIM-1000 tracking intelligent microphone. Amplifiers were also in vogue at the show. New arrivals LEA Professional contained some familiar ex-Crown faces and used its debut appearance to launch the IoT-enabled Network Connect Series. XTA’s Richard Fleming made the transatlantic trek to launch the MX36 console switching system. ‘I’ve never known a reaction like this to a new product – it’s been phenomenal,’ he commented. Following the launches of the X4L and T Series, it’s been an exceptionally busy year for Powersoft. It showed a more subtle side with the unveiling of the Mezzo line, which translates to ‘half’ in English. Similarly, Ashly Audio showed its half-rack FA Series of two- and four-channel amplifiers together with the full-size mXa-1502 and Aqua software. LD Systems added the

DSP-based four-channel IPA and compact IMA series of amps to its growing installation portfolio. In addition to introducing the MIMO4040DN Dante Digital Matrix, Ecler presented the eHSA Series of multichannel, high-impedance amps. Soothed by numerous audio demos; dazzled by LEDs, laser projectors and 4K and 8K technologies; educated by the growing AVoIP networks – InfoComm not only presented the most cutting-edge technologies, it stimulated creativity and debate. Weary visitors and exhibitors will no doubt return to their points of origin and reflect on their unique personal aspects of the show. Once those thoughts have crystallised, new ideas will be conceptualised and the origins of InfoComm 2020 will come to life. Those experiences will continue to be increasingly simplified for the IT world we now rely on. With continued disruption, there will be fewer companies competing for larger slices of the AV ecosystem – for which some will not be feeling fine.

L–R: Analog Way’s Philippe Vitali and Adrien Corso presented the latest LivePremier presentation systems It’s a family affair at Symetrix

L–R: Bluesound Professional’s June Ip and Graeme Harrison

Just Add Power’s Taft Stricklin highlighted the benefits of the Ultra HD IP platform

2019 Dates:

12 – 14 June

2020 Dates:

17 – 19 June, Las Vegas Convention Centre

Venue:

Orange County Convention Center

Attendance:

44,129

Contact:

www.infocommshow.org

Video:

www.proavl-asia.com/videos/trade-shows July–August 2019 PRO AVL ASIA 125

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Maintaining loudspeaker standards Why are loudspeaker testing standards important? Joe Begin, director of applications and technical support at Audio Precision, explains what they mean and why they’re crucial to product development Joe Begin LOUDSPEAKER TESTING IS A VITAL PART OF THE production development process for many pro audio companies, but the electroacoustic measurement of loudspeakers can present a number of challenges. In addition to the need for precision microphones, the interactions between the device under test and the environment can create unique measurement issues. IEC 60268-5 is a vital international standard that ensures loudspeakers are tested in a meaningful and repeatable way. It applies to passive loudspeaker drive units and passive loudspeaker systems. Standards for powered loudspeakers are still currently in development, and so will not be addressed here. The IEC 60268-5 standard also goes so far as to specify mounting, acoustical environment, loudspeaker and microphone position, and the test signal and rated conditions for conducting measurements.

Mounting The performance of a loudspeaker drive unit (or driver) depends on the properties of the unit itself and its acoustic loading, which, in turn, depends on its mounting arrangement. Drive units may be mounted in one of three configurations, with the selected configuration clearly described in the test results: • • •

A standard baffle or in one of two specified standard measuring enclosures In free air without a baffle or enclosure In a half-space free-field, flush with the reflecting plane

Loudspeaker systems are usually measured without any additional baffle. A manufacturer can specify that a baffle be used, in which case a description of the mounting arrangement should be included with the test results. The IEC 60268-5 standard also requires that measurements are made in one of five specified acoustic fields: free-field; halfspace free-field; diffuse soundfield; simulated free-field; and simulated half-space free-field conditions.

Free-field Generally speaking, acoustic loudspeaker measurements should be conducted in a free-field. To achieve free-field conditions, testing can be done outdoors, where sound may propagate freely in all directions, or in an anechoic chamber, which approximates a free-field. However, both have their unique challenges. For free-field conditions outdoors, the loudspeaker and microphone would have to be placed high above the ground to minimise the influence of ground reflections, and ambient noise must be mitigated. Conversely, controlling the environment using an anechoic chamber can be quite an expensive proposition.

126 PRO AVL ASIA July–August 2019

A loudspeaker test in free-field conditions In an anechoic chamber, the minimum requirement for a free-field is that sound propagation from the source follows the 6dB/dd rule within ±10% on the axis between the reference point and the measurement microphone. The 6dB/ dd rule states that the sound pressure level radiating from a source decreases by 6dB per doubling of the distance from the source. An inexpensive alternative to an anechoic chamber (to approximate the free-field response of a loudspeaker) is ground plane measurement, where the loudspeaker and microphone are placed on a hard surface in an open area. When set up correctly, the direct and reflected sound waves will be in phase and will have a combined level 6dB higher than the level of the direct sound. There are some issues to bear in mind, such as the baffle appears to be twice as high as it really is, due to the reflected image of the loudspeaker, causing a different diffraction response along the edge that is in contact with the ground. It also has the same issues as the standard free-field outdoor measurements in that it is affected by ambient outdoor noise from vehicles, machinery, aircraft and wind, especially for low-frequency measurements.

Half-space free-field and diffuse soundfield A half-space free-field condition is specified for testing a loudspeaker driver alone. In a half-space free-field, the threedimensional free-field space is split in half, usually by a hard, reflecting plane. For example, a sound source located outside on hard ground, away from any other reflective surfaces, constitutes a half-space free-field. A hemi-anechoic chamber (an anechoic chamber with one of its six interior surfaces

being a hard, reflective plane) can also be used. A hemianechoic chamber should meet the 6dB/dd rule within ±10% between the surface and the measurement microphone. An example of a diffuse soundfield is a reverberation chamber, in which all of the interior surfaces are made of hard, reflective material. Here, any loudspeaker measurements should be conducted with 1⁄3-octave band limited noise.

Simulated free-field Simulated free-field conditions use quasi-anechoic or time-selective techniques, which involve windowing out the reflected sound from a measurement so that only the direct sound from the speaker is analysed. If used carefully, this enables measurements in an ordinary room, but limits the lower-frequency range of the measurement. A large, unobstructed room can help to extend the low-frequency range of the measurement by increasing the time between arrival of the direct sound and reflections.

Loudspeaker and microphone position An important concept in acoustics is the nearfield and farfield. Far away from a source (relative to its size), the inverse square law (or 6dB/dd rule) mentioned above applies. At this distance, the soundfield has become stable and radiates from the source in a predictable way. Close to the source, however, sound waves behave in a much more complex fashion and there is no fixed relationship between pressure and distance. In this nearfield, the sound level is uncertain. Therefore, measurements should be conducted in the farfield. The distance from the source to the farfield depends on the size of the source. In one often-used rule of

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Rugby School calls on Mahajak

In In such such aa setting, setting, the the choice choice of of sound sound system system was was crucial, crucial, and and the the main main dancefloor dancefloor system system consists consists of of two two Incubus Incubus Air Air Array Array three-way three-way mid-high mid-high elements elements with with two two triple triple 21-inch 21-inch Incubus Incubus Subs Subs in in aa distinctive distinctive red red colour; colour; four four Hyperfold Hyperfold THAILAND: THAILAND: Rugby Rugby School Schoolupper Thailand Thailand compact compact folded folded horn-loaded horn-loaded upper bass bass speakers; speakers; two two Tri Tri is is aa British British international international school school in in Motion Motion three-way three-way mid-high mid-high cabinets; cabinets; and and four four Stasys Stasys Xair Xair Chonburi’s Chonburi’s Bang Lamung Lamungsubs. District District double double 18-inch 18-inchBang horn-loaded horn-loaded subs. Twelve Twelve Airten Airten V2 V2 compact compact and and sister sister school school to to a a facility facility of oftwo high-output high-output dual dual 10-inch 10-inch speakers, speakers, two Stasys Stasys 118 118 reflexreflexthe the same same name name in in the the UK. UK. The The loaded loaded 18-inch 18-inch subwoofers subwoofers and and two two Stasys Stasys 218 218 reflex-loaded reflex-loaded private private school school was was established established double double 18-inch 18-inch subwoofers subwoofers form form the the infill infill system, system, together together in in 2017 2017 and, and, after after its its first year, year, with with eight eight Venu Venu 88 passive passivefirst 8-inch 8-inch two-way two-way loudspeakers loudspeakers and and aa school school management management turned turned to to Venu Venu XX dual dual 12-inch 12-inch compact compact low-frequency low-frequency enclosure. enclosure. AA pair pair of of Mahajak MahajakDJ Development Development to to install install engineer. engineer. ‘The ‘The theatre theatre is is used used Airstream Airstream DJ monitors monitors comprised comprised of of aa single single 15-inch 15-inch subwoofer subwoofer a a new new audio, audio, visual visual and and stage stage for for a a variety variety of of events, events, such such as as with with aa coaxial coaxial 12-inch 12-inch midrange midrange and and aa 1.5-inch 1.5-inch high-frequency high-frequency lighting lighting system system in in its its theatre. theatre. conferences, conferences, lectures lectures and stage stage unit unit give give DJs DJs the the dynamic dynamic range range and and SPLs SPLs they they need; need; these these are are and ‘The ‘The customer customer required clear clear performances.’ performances.’ reinforced reinforced with with four fourrequired Stasys Stasys 118 118 subs. subs. The The system system is is powered powered sound for speech speech and and music music To ToBias meet meet the the audio audio requirements, by bysound aa total totalfor of of three three Bias Bias V9, V9, six six Bias Bias Q5, Q5, five five Bias Q2 Q2 and and one one requirements, to to cover cover the the entire entire space,’ space,’ network Mahajak Mahajak deployed deployed two two JBL JBL Bias Bias D1 D1 twotwoand and four-channel four-channel network power power amplifiers. amplifiers. 22 explained explained Mahajak’s Mahajak’s project sales EON610 EON610 self-powered self-powered speakers ,, Zouk Zouksales Empire Empire is is aa hip-hop hip-hop club club that that speakers Spanning Spanning almost almost 500m 500mproject can can also also provide provide aa private private party party space space for for up up to to 500 500 people, people, with with aa bar bar and and 20 20 tables. tables. The The concept concept was was taken taken from from New New Ground plane measurement of a loudspeaker York’s York’s private, private, upscale upscale club-lounges club-lounges that that cater cater for for urban urban thumb, it isititconsidered to begin on at the athe distance of three times music. music. And And doesn’t doesn’t disappoint disappoint on style style front front with with fine fine art art the largest of theaa source. features features on on dimension the the walls, walls, while while 6m 6m LED LEDIdeally, screen screen measurements behind behind the the DJ DJ in free-field andVJ free-field conditions should be decks decks displays displays VJhalf-space loop loop visuals. visuals. conducted with the measurement microphone in the farfield ‘With ‘With the the rising rising popularity popularity and and appreciation appreciation of of hip-hop hip-hop culture, culture, of loudspeaker. we wethe thought thought it’d it’d be be an an opportune opportune moment moment to to introduce introduce aa brand brand new new hip-hop hip-hop angled angled concept,’ concept,’ said said Zouk Zouk Group Group CEO CEO and and executive executive director, director, Andrew Andrew Li. Li. Impedance and voltage characteristics Empire Empire has has been been installed installed with with aa main main system system of of four four custom custom The rated impedance a loudspeaker thesix nominal gold gold triangular triangular three-way three-wayofmid-high mid-high Tri Tri Motion Motionisand and six Nexus Nexus XL XL value pure resistance used to define the power 21-inch 21-inchoflow-frequency low-frequency enclosures enclosures with with four four custom custom gold gold grilles. grilles. required to drive the speaker. Although four afour nominal Fills Fills comprise comprise seven seven Venu Venu 88 loudspeakers, loudspeakers, Airten Airten V2s V2s resistance value issubs. used,The a loudspeaker’s impedance and and two two Stasys Stasys 118 118 subs. The DJ DJ monitor monitor system system in in Empire Empire is a phasor complex quantity has both magnitude consists consists of of aaor further further two two Airten Airten V2s V2s(itand and two two Stasys Stasys 118 118 subs, subs, andthe phase), and it varies significantly the audio and the system system is is driven driven by by three three Bias Bias Q5 Q5over and and five five Bias Bias Q2 Q2 frequency four-channel four-channelrange. network network power power amplifiers. amplifiers.

with with pairs pairs of of SRX818S SRX818S subwoofers subwoofers and and SRX815 SRX815 bassbassreflex reflex cabinets cabinets powered powered by by two two Crown Crown XTi XTi 6002 6002 amplifiers. amplifiers. Processing Processing is is handled handled by by aa BSS BSS BLU-100 BLU-100 networked networked audio audio system system and and aa Soundcraft Soundcraft Signature Signature 22 22 manages manages the the mix. mix. On On the the visual visual side, side, the the Mahajak Mahajak team team set set up up aa Grandview Grandview Skyshow Skyshow 250-inch 250-inch motorised motorised screen screen with with aa Panasonic Panasonic PT-RW930BA PT-RW930BA Solid Solid Shine Shine laser laser projector. projector. Mahajak Mahajak also also added added control control elements elements to to the the theatre’s theatre’s lighting lighting rig rig with with aa Martin Martin Professional Professional M-Touch M-Touch surface surface and and aa DMX DMX 5.3 5.3 Splitter, Splitter, which which maintains maintains data data over over long long DMX DMX signal signal runs, runs, boosting boosting the the weak weak DMX DMX signals signals to to their their original original output output level level before before they they become become too too low low to to be be read. read. ‘Our ‘Our main main challenge challenge was was to to install install the the equipment equipment on on time time because because itit was was an an urgent urgent project,’ project,’ added added the the Mahajak Mahajak engineer. engineer. ‘However, ‘However, the the work work Top Top L–R: L–R: Laurin Laurin Schafhausen, Schafhausen, Satoru Satoru Tochibori, Tochibori, was was completed completed on time time because because Henry Henry Ram, Ram, Callum Callum Bowran Bowranon Bottom Bottom L–R: L–R:of Tetsuya Tetsuya Miyashita, Miyashita, Sean Seanand Iskhandar Iskhandar of our our team’s team’s dedication dedication and commitment.’ commitment.’

IEC 60268-5 specifies that the lowest value of the impedance magnitude within the rated frequency range shall not be less than 80% of the rated impedance. It also requires that the impedance at any frequency outside the rated frequency range (including DC) be less than 80% of nominal impedance. The standard also requires that the impedance magnitude curve is measured over the standard audio frequency range (20Hz to 20kHz). The log-swept chirp signal is a good stimulus for impedance measurements. It is also worth noting that Section 17 of IEC 60268-5 specifies loudspeaker input voltage characteristics that should be measured to determine voltage levels that the loudspeaker can withstand without suffering any thermal or mechanical damage.

Absen LED screens G League finale Rub and buzz

Rub and buzz distortion is usually caused by mechanical defects such as the driver voice coil rubbing or loose particles in the gap. Annex D of IEC 60268-5 describes a listening test that involves manually sweeping the Customised Customised gold gold Void Void Tri Tri Motion Motion Nexus XL XLproject in in Empire Empire CHINA: CHINA: The The Mercedes-Benz Mercedes-Benz Arena Allen Ye, Ye,Nexus Absen’s Absen’s project manager frequency of aArena sine signalAllen applied to the speaker atmanager the in in Shanghai Shanghai hosted hosted the the finals finals of of the the at at the the venue. venue. ‘The ‘The four-sided, four-sided, rated sinusoidal voltage. Problems can occur in a highly latest latest GG League League season. season.situation To To ensure ensure high-definition high-definition LED LED display system system restaurant restaurant has has been beenlike installed installed with with 14 14 Venu Venu 8s 8sdisplay with withtest, five five Venu Venu repetitive a loudspeaker production where the the 18,000 18,000 fans fans that that filled filled the the compact was was able able to to provide provide clearer clearer and and Bass Bass single single 12-inch 12-inch compact subs subs and and two two Venu Venu 10 10addition, passive passive operator performance is likely to decline rapidly. In venue venue could could see see all of of the the esports esports closer closer views views of of Here, the the battles and and 10-inch 10-inch two-way two-way surface-mount surface-mount speakers. speakers. Here, according according theall distortion could be below the threshold ofbattles audibility in a action action taking takingto place, place, four 16m 16m xx 9m 9m director, game game operations operations for for each each and andis to Zouk Zoukfour Group Group culinary culinary director, chef chef Steven Steven Chou, Chou, diners diners production test environment. Therefore, intricate testing Absen Absen LED LED screens screens were were suspended every every audience audience member, member, wherever wherever will will experience experience ‘…delicious tastes, tastes, matched matched with with theatrical theatrical required forsuspended an‘…delicious objective, repeatable means of detecting rub 20m 20m above above the the centre centre of the the arena, arena, they sat.’ sat.’ presentation, presentation, exciting exciting surrounding atmosphere… atmosphere… The end end and buzz of distortion insurrounding anythey loudspeaker product. The The The screens screens were were formed from offering offering aa view view of of the the competition competition to tofactors goal goal is is to to contribute contribute to to building building Zouk’s establishments establishments as as the the There are countless toZouk’s consider whenformed testingfrom Absen’s Absen’s 3.9mm 3.9mm pixel pixel pitch pitch LED LED or the the audience audienceultimate on on each eachhotspot side. side. but ultimate hotspot to toadhering wine, wine, dine dine and play.’ loudspeakers, toand the play.’ IEC 60268-5 standard, solution. solution. In In addition addition to to displaying displaying ‘The ‘The competition competition was was broadcast broadcast IfIf ever ever an an excuse excuse were needed needed for for leaving the thehelp city city behind behind and and at least using it aswere a guideline, willleaving no doubt produce the the gameplay, gameplay, they they were were also also used live live on on the the screen, screen, as well well as ashills, on on heading heading for for the the hills, Zouk Zouk Genting Genting can canaudio certainly certainly provide provide it. it.used more as meaningful test results for pro manufacturers, as as scoreboards scoreboards and and for for showing showing the the internet, internet, and and the the high high level level and engineers. product designers team teamwill information. information. of of contrast contrast ratio and and2refresh refresh Fuhu Fuhu –– which which will will host host DJs DJs to to entertain entertain clients clients as as they they dine dine –– ratio www.motifv8.com www.motifv8.com Part in the Sep/Oct edition cover specific challenges. www.mahajak.com www.mahajak.com rate ensured ensuredwww.rwgenting.com an an excellent excellent visual visual www.rwgenting.com has has also also been been installed installed with with aa Void Void system, system, keeping keeping rate the the audio audio www.absen.com performance, performance, even even on on camera,’ camera,’ said said www.absen.com The impedance magnitude ofmain, a three-way loudspeaker at 8Ω www.voidacoustics.com www.voidacoustics.com www.ap.com consistent consistent between between the the three three main, high-energy high-energy venues. venues. The The

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BUSINESS: R&D

Twin peaks

Taking eight years to create from beginning to end, the latest TwinPlex series is packed with a whole host of technical achievements, discovers Simon Luckhurst FOR A COMPANY WITH THE VAST HERITAGE OF SHURE, one that has been designing and manufacturing microphones for nearly a century, what else can there be to learn about mic technology than tailored tweaks here and there to pre-existing and already highly successful models? As it turns out, quite a lot. With the manufacturer launching TwinPlex at the NAB Show in April this year, we took a step back to recall a recent visit to the company’s HQ in Chicago to find out more about the development of its new miniature microphone capsule. The new line is Shure’s attempt to firmly break into market sectors such as theatre, where there is already no shortage of great solutions on offer. So, how does TwinPlex differ? Shure made a big deal about the virtues of its dualdiaphragm technology that first appeared in the KSM8 handheld microphone in 2016. Like the KSM8, TwinPlex is also home to a dual-diaphragm, omnidirectional capsule, albeit at a fraction of the size. The benefits of such a capsule are described by Shure as providing ‘unprecedented’ off-axis consistency, a low noise floor and high SPL, and a ‘natural’ high-frequency response. ‘It was pretty common knowledge here at Shure that we needed some better lavs and headsets, and the impetus for it was that we knew Axient Digital was going to happen,’ explains John Born, senior global product manager at Shure. ‘The way development works at Shure is that we’re divided up into four different segments of product management: wireless, wired, conferencing and software. I’m the product manager for the wired category.’ The idea for the dual-diaphragm capsule was a collective effort that started with a technical development in the acoustic department, notes Born. ‘Jeff Segoda was the lead acoustical engineer. I work very closely with him and I’m down there every day talking about what we can do, how we can do it better, what ideas we have. Jeff had a lot of ideas and he knew a lot about our competitor mics. He knew that we wanted to try a lot of new things with TwinPlex that we were not using in our existing models. Starting from scratch with a new condenser microphone gave him a clean slate, so we could make the backplate any shape we wanted, and

128 PRO AVL ASIA July–August 2019

John Born we could make the diaphragm any dimension we wanted and from any material. We went down a whole bunch of different routes. Some of them worked and some of them didn’t. We looked at 3D printing with the Nest, some crazy backplate PCB manufacturing processes where we’d meld two plates together and a whole load of other techniques. But this gave him the acoustic landscape to throw everything at the microphone that we’d ever dreamed of. ‘We do a lot of simulations and a lot of modelling that means we can match components together and know that we’re going to get a certain response acoustically. The real challenge was – how do we physically make it? And after that, our supply chain – pushing our boundaries on part processes and suppliers. Exploring new suppliers and getting parts from new places was key. The mechanical side of TwinPlex was extremely hard.’

It’s at this point that Born hands over a small Perspex box containing a set of tiny components that make up the TwinPlex capsule. The parts are so small that without a magnifying glass, next-to-no detail can be discerned. It’s a useful illustration of the inherent challenges that come with working at such a small scale. ‘A condenser mic is all about flatness: how the parts stack together and how that condenser microphone is formed,’ he adds. ‘We had to invest pretty heavily in our measurement capabilities. When you have a measurement spec of 5μm, we have to be able to measure a single micron just to make sure we’re meeting 5μm. We invested pretty heavily in some very expensive measurement and scanning equipment, to make sure that we’re getting good parts, so we’re not going to make bad microphones and not know why.’ The decades of knowledge and the expertise in Shure’s acoustical lab is just the beginning of the development process, however. ‘We have a pretty high standard of manufacturing at Shure. Anything below about 95% yield and the manufacturing department gets quite skittish,’ explains Born. ‘Obviously we don’t want to waste time, we don’t want to waste materials. And, if you’re using bad parts and don’t know you’re using bad parts, you’re going to make bad products. These parts are so tiny, we have a 1mm spacer washer. How do you measure that? We’ve been building hundreds of thousands of microphones for the last year just to make sure we’re getting those yields. I joke sometimes that we probably break more microphones than some companies sell – just to make sure we’re delivering the best we can.’ Because of this constant refinement, Born admits to having seen more prototypes of TwinPlex capsules than he can pin down to a number. ‘The original prototype was as big as a business card,’ he recalls. ‘It had a board hanging out, flying leads coming out of it and it was duct taped together. There were hundreds and hundreds of different versions that we tried, just to refine it and shrink it. When we started out, the goal was 5.5mm in diameter but, by the time we’d stuck the housing around it, added the backplate and the cap, the thing was 7mm, and 3mm longer than what we needed it to be. So, they said to me, “is that cool, can it be this big?”. I knew it

BUSINESS: R&D BUSINESS: R&D BUSINESS: R&D BUSINESS: TECHNOLOGY

PRODUCTS BUSINESS: R&D

were and then interviewing them after that. We the were Furthermore, third-party companies specialised in making Dante youtothen split that off have into the Dante network approach. companies tendbridge, to drive market as twocall networks aredifferent invisible to each One ofdoing the advantages of iswant an immediacy considerations were, what the of the room claims these systems arenetwork ablevolume toblending reproduce relatively and soundfield with different contents fromother,’ aUS central varied. You tois, go indry there andnetworks. just isolated make‘These a phone or s. For higher-end rooms, you could talking about how to rooms, mount miniature microphones, what theof these hiding accessories and there the are FOH already some the available where that is then shared between console, fast as they can and they’ll fix the issues later. That is not the explains Mr Ferriday. ‘If one is connected to a broadcast truck, We’ve taken screen grabs for broadcasters. This kind of technology has the ability to distance for the seating positions. audio in reverberant therefore increasing speech system. As a result, the applications really range from the you want to go in there and make a video call or you want to go wireless and wired microphone challenges are, thethe pains andFOR their needs, and we came out for our new design.the That was again one ofthe the OB things weand learnt recording console, broadcast console, truck way that Yamaha sells new products to its customers.’ the live audio network is invisible to the broadcast truck and every elevation, plus an isometric, plus all the seating angles, communicate with broadcaster’s auto-acquire system to intelligibility. creative to the pretty complex,’ clarifies Moreno. EVAC in there and do nothing but put your slides up on the screen. their DSP technology to address the with acoordinates, huge amount of reflection user input.’ from the R&D team’s work.’ all of that audio is available to all the desks. It’s bi-directional While this first product has drawn deeply on the Yamaha whatever they are doing in there is completely invisible to the polar fields of view and viewing angles. It takes simplify the satellite connection process. As such, news crews do ‘Lower feedback and can also be achieved using Transport terminals are one field Holoplot hopes to Conference rooms everywhere get used like that all the time, SYSTEMS CERTIFIED one of the Having collected and too, sofuture if you want toThis takehighlights audio back from the major broadcast truck, quality process, Mr Reid that collaborations live network. is these theit’s digital equivalent of a transformer weeks to do something like this manually.’ not have to schedule satellite time, which saves them valuable planar waves, as the volume level is uniform over distance, quickly dominate and perhaps the clearest example of believes especially in companies where they’ve created aThis lot of point out that the collaboration from advantages that DPA has analysed this data, the such as the audience mics or the ambience, we canseen ask the will see other elements come to the fore. ‘We are getting isolated switch. There is no possible interaction between the Understandably the solution has garnered a lot of attention set-up time and removes the constraint of broadcasting within a so this does not increase that much when you move a mic the potential of Orion to enhance speech intelligibility and smaller conference rooms.’ ofproducts of any scale. ‘We ACCORDING TO EN 54-24 (B) taking this approach tothe the manufacturer used it with broadcast truck to send us an ambient feed back into the best out of both companies. We have a Yamaha quality two networks.’ since its launch. And many of the manufacturers on its set period. closer to the system – reducing the feedback limit. As for directed sound in one of the most composite and hectic Importantly, Mr Reid also believes that the mission-critical have power amps and speech R&D process. ‘Having the to create ablending light, yet secure network and we can and pick that up where ever we want. It gives control processoffers that fits the broader Yamaha brand While is the ability to have two separate networks some database across both residential and commercial Network delivers the the required bandwidth to itsmeans users thatenvironments. conventional point source speakers, volume increases nature of these spaces there a potentially audioworking equipment that rs of high-end R&D team seeing headset that is easy tosoon fit. Stability comes from a taking 3-point you a tremendous amount of flexibility about where the audio we’re working out how we use that to be competitive in the clear advantages, Mr Ferriday is equally convinced that sphere, requests were being made for the software to be no matter what the external environment presents, the Other applications range from museums – to create ‘focused exponentially by getting closer to them, and so does the risk sup. And going down we have our USB vibrant market. ‘People recognise that ease of use, time to what to our customers was brilliant,’ spring mechanism that essentially forms a cellular tripod around goes and it allows you to build up very large complex audio ever-growing market. you need to doare fordoing Dante networking inimmersive the live environment is a–positive thing Is everything upscaled to rooms and speaker placement for best attributes transmission paths satellite sound objects soundscapes’ toUCconferences, Lower reflection isstart, also made possible due toquality of and–audio andand video meetings areand essential Bt,phonesof sofeedback. there arehandle aof lotboth oflarger places says Mørch. ‘That way it was not conveyed the ear, while adjustable boom lengths and angles ensure networks quite simply and very inexpensively because it isvia a high-end piece of equipment what you need to do for a for engineers to do. He offers the example of a conventional 3D–audio applications such asThere Dolby Atmos. However, this was and IP and directivity. fusing them into one. be no loss of where higher levels of speech the high The directivity inshould the band drivers oflow-frequency meeting effectiveness productivity, and they will intelligibility and more even hones, VoIP conferencing phones, several people, it was They could that one sizewhen fitsthe all.system Finally,size.’ a simple 90° clipand on the rear of using standard switches and Cat-5 cable.’see what they were US$150 USB speakerphone? Probably not. That’s whatdirect. we’re show setup without anRetail FOH console and monitor console, nota aDante simple process. connectivity switches cellular satellite and coverage are required. spaces and aart exhibitions are is function of The enabled stagebox allows two separate networks pay aforpremium to get them. We canlive see a real market there hing – audio, video, data – itwe could between designing because they knew what the pain was, was theyalways didn’t the headset serves to provide security and strain relief for the that. They are thrilled toand see that weforward. Expanding the Live family into different markets investigating now as we go We’re discussing what a truck to record the show on a separate console a feed ‘It was lots and lots of subtle little things that we had to look at the operator in the field doesn’t have to worry about which they other integral markets for the technology, in order to create for tools that improve their employees’ collaboration.’ collaboration spaces.’ have to guess what they were designing for.’ mic cable. have used some of the input that with a Dante-based option for networked audio, the Net I/O SB going to be the sensible option for SSL. But by embracing really makes sense from a go-to-market perspective and for the house broadcast. ‘We have some conventional Madi to the rooms,’ explains Mr Singleton. ‘We had to a aredo connected to, because it happens automatically, sobuild they can more immersive shopping experiences, and it’s one area that e, Mr Reid can seebig a definite Diverse application The combined resultnetworking of the newfor capsules and accessories ‘We’ve hadhas veryprimary positive feedback onnetwork the notes we gotisfrom theEast. world tour expectations 32.24. ‘SSL actually been making I/O for some the potential the concert market, the establishing what customer are.of audio I/O some I/Ocapitalise which connected directly to the polar Cartesian coordinate that changes the polar get ontowith capturing theheadset,’ action. Crews can the and start-up is Dante keen to on inthe theround Middle ‘So www.revolabs.com 700 now.Testing ‘We’ve brought that toat job andtheir analysis theofconverter TwinPlex cleanroom is something the manufacturer isthat clearly taking a lot of pride René Mørch, product manager atfor DPA Microphones. ‘We from various industries to make it Middle better. time,’ reasons Mr Ferriday. ‘Traditionally manufacturer has shown that all time in development has ‘This will be the first of many products on the collaborative network,’ he begins. ‘The Madi I/O goes coordinates of smaller rooms into the Cartesian coordinates that focus on setting up quickly and sending the live shot back to the At the moment, the applications Orion are distinct and many projects are executed in the East that follow www.yamahacommercialaudio.com ooms where the use cases are very from. ‘It is a‘We’re very exclusive product,’ concludes Nielsen. ‘We showed users prototypes along the way and got feedback onout architectural ‘The feedback that we get isinto that it fits perfectly it can this has been afor broadcast product, it’s not well spent. from theconsole twoand companies,’ hebeen continues. looking directly the monitor to run you would use largerneeds spaces. It uses trigonometry to work broadcast facility. couldn’t, but the team to hear that from the customers. There’s an innate passiontothat shines through when Born vast. ‘With this technology embedded in Orion, we really want designs that result inside high reverberation times, know the combination of smaller‘I and is in high be adjusted easily,’ hethe continues. ‘With the benefits from something we’ve soldis,into the live market in or further leverage ourbetween products. Wediscusses havethat wireless microphones absolute minimum latency what the hypotenuse what the angle is and then it convertsby Most satellite with existing Ka-band Ku-band So, I brought 3Dvehicles models out to sound designers.’ the product development. just better love making to improve the listening experience in almost any situation namely due to the use of glass, concrete and the design of demand. I for think wevery are going to open some newatdoors security and strain relief the on the back ofDSPs the www.solidstatelogic.com the past. However, the new Dante stagebox CEO Roman Sick collecting an award at SXSW and Yamaha-built and other systems mixing in thethat I/O and the monitor board. Via the that to two Cartesian coordinates, which areof how along satellite equipment can be upgraded for compatibility with and Arguably, this is the most important part the far development microphones,’ hethat smiles. ‘I think about microphones home, improved localisation, better intelligibility, uniform coverage larger rooms. Our technology, withclip its steering capabilities, Image of Katrina Barber at I’m Getty Images due tomicrophones the size mainly, and I also think that a number headset offers, it solutions is one of those things where we wondered, has been designed forand live sound. how far up as compared to we sitting firing polar coordinates network blending. Asspecifically an‘As example, athrough Newtec Dialog IP modem, process, argues Born. get the prototype stage, Iwith thinkitcourtesy about when eating breakfast. I just provides effective to create intelligible speech in of our customers will switch to that one. decisions My gut feeling is that whyMiles didn’t anyonestates think Moreno. of this before?’ We’re still using the same is super analogue from something. Otherwise you could end up with a height configured for the service, provided as part of the CellSat there’s certain checkpoints that we need tomic hit. We’re making love what I do. Of course, some of those are hard. these buildings,’ Other potentially strong TwinPlex TL47 PMC’s international sales director Roberts expects particular ‘We getgoing away from fixed ‘But relation toneeds. its acoustic outline,’toit’s notes Oliver Thomas. tothe be good.’ The headset not theinclude only accessory to benefit fromneeded the big things from result6 in It China markets pres as we on the broadcast device, but we high-end audio channel on the wall whereas youtransmission really want itand on receiving the ceiling. solution, which includes Dejero ‘The liberal use of thewith word “immersive” is whyapplications. it’s Then we For high decisions sodo fast, and we’re shutting these doors that can’t We started project only one cable at 1.6mm. for thewas company Europe and Asia. architecture and focus on creating a truly the best takeaway was looking at the typemodular of engineering R&D user is tour. the 6060 lavalier, weWe made a new version now have aagain. different form factor is more us solution combining allows everything to track with thewhich correct azimuth and tow. equipment, software, connectivity services to that’s the CellSat becoming difficult to guys bringand a truly immersive to our be opened When we’re alpha testing, really all spoke to the theatre theyimagine said, “we really would likewireless a Holoplot not‘For coy the business benefits it thinks its the design brought challenge. did an awful lot audio The screen shot ofaon adifferent high render channel count immersive design DSP system. So with Solaro, we took the approach and design process for a company making products that will from team. ‘We always strive for accuracy and www.dpamicrophones.com of market the existing clip so TwinPlex that instead of taking thepatience mic out, appropriate fordown live.’sound technologies with some of their DSP ‘The locking second thing was creating the tohis handle tiered network, cloud management and demands support. Satellite time the market and get noticed all thetonoise Truly about quality. Youcapability can’t go back. We had a 1mm cable because it’s a with lot easier hide”.around. I said, “well, technology could offer. ‘There are of operational costof testing with andlots having the toyou to adopt a modular I/O architecture in order to be used in a pretty harsh environment and going through neutrality,’ he says. ‘That’s with all ofitour products. just lock into a different position viathose a rotable design,’ The unit includes 32sound mic/line inputs, 16 boardrooms the know where to those channels, they wouldn’t evenworld.’ knowand seating,’ he continues. ‘We had to look at everything from Ican want aelements database isand filtered that they’re not confused becomes freely to boost bandwidth when needed. To the goal immersive sound, our point of view, is anofexperience in already locked inavailable our quality for TwinPlex about threepolar alright. Let’s goput andfrom do it”. The company understands that saving tothat this system –so less speakers and/or less receive feedback, good bad, to make changes that maximise the I/Ocan requirements per project and the steps of validation and testing.’ • outs, four AES/EBU inputs I suppose it Newtec’s is ato little bit like high-resolution television. The says Mørch. ‘It has eight different sorewarding. you clip analogue and four But product he quick to point out what toa do with we them. response graphs to and acoustical insertion by products and brands that arechallenging notpositions applicable,’ he reasons. achieve this, CellSat has integrated with Mx-DMA whichknew person is able to feel dragged intoisaequally virtual spaceas years ago, based onoff-axis the been partresponse designs we’d made start they that needed to have this as perfect installation for immersive setups because less or no you need tocosts make, that’s both and Butit reduce unnecessary The PMC sales and spending.’ marketing team has already set its detail better with isbutton Ifinto you anywhere. AES/EBU it is the gets back could conferencing ‘The barrier to business for most isstill thebeing complexities points for the ‘So withthat one click, users can filter the database for justnews teams technology as loudspeakers.’ part ofwe’ve the Newtec Dialog platform. Mx-DMA that the physical one,people whiletackle able to ofproducts o tooling up.outputs. So, onceHowever, got a on design and we think it’sthe more money it candiffers be.’ from additional speakers are required,’ adds solution it means that Ispent. canand go a launch like Moreno. this with ‘This complete Blending cellular satelite signals can remote Support forheAudinate’s Dante in technology, the sights on assist the broadcast sector Asia and Australasia and • listen to the result6 and put them against the twotwos, they ‘Making sure it was practical was a key part,’ continues. can panel where the new stagebox offers something Here can go down up.For They have powe The move has also seen specifications fromweabandwidth variety new the design,’ continues. ‘Ihuman can do a design in aand minute-andthe professional ranges theour various speaker or combines SCPC and TDMA tofingers flexibly manage on perform actions that any intuitively make. going to work, we cross our before go unique. andof spend Despite theheimmense amount ofwill planning and development provides unprecedented acoustic performance, confidence. I know that from we did homework oncross-talk it. projector We could introduction programmable controls and in the region. is banking onofthe result6 to make an impact sound very similar youand switch between ‘Iwhen thought that we should come with more attachments er of hundreds there are while two pairs of redundant Dante ports. andyou all kinds Anything that offers greater provides opportunities for of high-e loudspeaker manufacturers addedwill to TCD’s database. ‘We’ve a-half. I could run five designs using different manufacturers, manufacturers. That will uniform make itup acoverage much more professionally demand, avoiding fragmentation ofnetwork the space segment. a cloud-based management system, which allows users example, if you find yourself immersed in a the jungle, want of thousands of dollars on tools to make this ain balancereduction that went into TwinPlex, it’scapacity safe toreinforcement say that development improved entire have released this thing two years ago,’ heover adds, ‘butaudience ittowould Solaro’s multi-sampling rates for ‘Weespecially will selectable be looking at China quite aggressively, and I would • to the Network A redundant which is but theareas difference willup be that than we ended doing. Butmonitor we found innot the ‘In pair, there is much a canwhat wehear can leverage as we go improved video quality and performance. been talking to people about their bigger, horn-loaded, different loudspeaker different screens andarrived projectors driven commercial database.’ Toaddition set up apart,’ network blending solution, the broadcaster remotely control equipment, live feeds, route content to be hasn’t able toground turn around when you an animal from theup. And go production he says. ‘This isthem, the process in important, between team tobrands, a halt now the product has on with high levels of speech intelligibility. It’s a film system have been bigger, and it probably wouldn’t have sounded as to enhanced usage continue to spearhead Xilica’s expect the result6 to open a new market for us there,’ the twotwos will more detail and be more tgned are much smaller thanwith with aon aand business, these guys are real pros who know they are second redundant pair the back of the box build”. which phones have USB phones s Network offers a newthat of reliability by corner. more professional systems,’ notes Mrtransmitter Singleton. ‘It’s trying to resolution, and present those the client. Iflevel we get theand job, that’s brilliant, With the solution now able to handle the complexities equip a“a vehicle either mobile or ahave rackthe desired broadcast facility and view data and back or toblending walk to to a waterfall you hear in they the we call working model” “design model A design the market. to sit back enjoy music but it’sperformance an added important audio good, and itand wouldn’t have aon, cable this thin orwhat all four colours. innovative DSP credentials. In addition, says international sales director, Miles Roberts, adding analytical. And they should, because they cost a lot more.’ e. the R&D cost is higher, doing and we couldn’t teach them anything. We can give them n Although provides aencoder gain Dante split,’ Mr we cantoemotionally godo together. USB phones, VoI automatically combining cellular connectivity from address that application aspect and, with this data, and don’t I’vethings only wasted 30 minutes.’ ofjust large-scale theatre design, MraSingleton is quick point mounted – compatible cellular antennas and IP satellite billing reports.for And, importantly, to physically and model build iscommercial allcompensated from tooled parts. That isfurthers definitely the most ‘Doifmost Iwe have some that I still want withmultiple it?’share development complex environments, where cleartoaudio is a It wouldn’t have been such good portfolio.’ Solaro’s design specification adds a dragthat unlike its European competitors, PMC The result6 has broadened horizons for PMC with isn’t.’ stressful good microphone butTwinPlex theyTCD know how to to hide it. Why try giveand American Ferriday. channel includes the gain differential peripherals that dowhich everything – aud mobile network carriers with on-demand satellite connectivity, we are in ‘This a much better position to cover that sphere.’ Thiswith has always been the key goalThis for TCD. Clients will makeis to potential benefits can bring new marketplace, modems – while satellite terminal equipment can bereally added Athe network blended architecture should beadesigned sotothat that the person next to you. delivers that, part of the entire development. Youcommercial can’t go concludes Born. ‘Of course, there are still some wish list paramount.’ With the target for being the theatre market, and-drop design, with control China via iOS, Android is in from the process of obtaining CCC Certification – a imminent and similar projects in the pipeline set to once l not have the exact same sound them something that they have to have us and if it breaks audio. The audio coming out here will be cover the full spectrum of collaborat keen that the commercial addition to TCD allowing broadcasters towith get high-quality video transmitted subjective choices but, tools like TCD, missing out onwith ain most notably in time savings. ‘Because I features haveupbeen doing thisin atMr theSingleton broadcast facility and aof receiver cannot reconstruct the live pictures and sound are over whatever data That term ‘immersive’ is sent one that key comes many times why weI think immersive sound has finally met its half-orange back. Well, youiscan – but it’s expensive.’ items. can already see great potential for more things Shure had already identified several it bandwidth felt could and Xilica’sthen proprietary XTouch system sur faces. The mandatory product certification with the aim of again excite Peterpeople Thomas and his team. ssors, it changed will share the one common someone to getMoreno itproblem out ofexpresses aaspects they have nel byfrom anything thator happens the input While that is for the future, Mr Reid does not cause confusion forIPhis users. ‘I deal with in the challenging network contract doesn’t haveconditions. to be so painful. aorlong time,and Iforgets knew what ato itcostume was forbrought me,’ he reflects. transmitted video SDI playout. is available delivered whichever location or locations this industry. And even concern over itsto in the market.’ If moving a for design model to aon working model brought this portfolio.’ differentiate the product. All of the different current Solaro family consists of FR1 and QR1 modular protecting consumer security – for result6. Not having a www.pan-acoustics.de who started up the company havebroadcaster a you new one from us.use, The things that they are using you can gains from the control business case for the CS-700 now. ‘W the sphere, Ihow understand that it is very complex ‘When are doing 5.1 or it’s easy. When you’re doing 32 If acommercial broadcaster chooses to go with for their the requires. As7.1 such, the system should be as frequent and incorrect at times being problematic for most stress, it was theconsole.’ thorough market testing that arguably challenges to the table, explains Born, ‘whether it’s the cable, Revolabs’ Phil Marechal and Michael Fitch demonstrating The illustration shows Orion isCellSat being used tonetwork precisely I/O architecture processors, new XTouch50 and XTouch80 CCC canthe reportedly create import restrictions but PMC www.pmc-speakers.com Assembly of–that the d:facto mics rtner Adrian Loader always literally just go down to athe shop and pick up you need. the CS-700 at InfoComm 2017www.dejero.com ode Thisthey means the box can operate as two discrete market for these smaller rooms whe www.thecinemadesigner.com and don’t want to sift through a database of nonsense. channels of discretely audio, most people wouldn’t The desk has been designed tocontinents allow theasconnection of various peripherals blending, the solution is managed from a browser through applicable for live links between itbits is across town. www.shure.com www.holoplot.com companies like Holoplot. presented Born with his biggest challenge. ‘Every aspect of the microphone yield orrendered feature set’. direct audio programmable touch controls addition to existing Mini claims to have the edge in the in country, having obtained the year controls andfor theprevious Rio series of Dante I/O inter face devices. certification products. ty. ‘China is working out for us quite well,’ continues Mr The rear panel of the QR1 Roberts. ‘We are expecting some significant movement with The design of the Solaro FR1 pro the result6. We already have pretty large pre-orders from urer a Linux platform and utilises Xilica DMT, our China and Hong Kong distributor, so we are just configuration software. From the fr waiting for the CCC approval to come through to ship them.’ r, chassis simply incorporates a fron The big plans for Asia do not end there, with PMC also and rotary wheel. However, the ful using result6 to tap into education for radio and television s becomes evident from the rear. Six production technologies and classical recording. ‘We were and accept either 2-channel audio inpu already doing installations at around eight conservatoireon 4-channel GPIO cards for either inp type, educational establishments,’ continues Mr Roberts. ‘I nas A Universal Media Controller the heart enhanced flexibility, further cards c see result6 as the point where lies the at students canofstep into a Solaro.like ‘We’ve an increasing adoption of I/O requirements including AES/EB brand PMC.witnessed It is reachable and affordable as opposed m low-cost universal controllers for any from any RS232/485. to our other products. The result6 will device give students that going to be put to market are much and manufacturer,’ furthers Mr face Chow. installation Operating at a sample rate of 48 quality experience they will in ‘A thetypical real world.’ product of result6’s price. Although rs integrates a digital active mixers, but, same input, output and DSP p It has been a long processor, and rocky road forspeakers, PMC and result6 the amount per speaker isn’t.’ projectors and lighting. haveittherefore developed this as the larger Named for have its ¼ for Peter Thomas and hisWe team, was worth the wait and Although theFR1. result6 will not controller‘In sobusiness, that it could everything on is based on same Linux platfo struggle. youaccommodate allocate the R&D cost to each dynamics as the its predecessors, it w one single softwareout platform, together all the control dual that corePeter processor drive to provid product by working what the lifetimewith will be,’ explains trait Thomas – who star options.’ Eight in card slots can either Peter Thomas. ‘With the twotwos, the numbers that are back 1991 with hisaccept partner Adri

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BUSINESS: ANALYSIS

Next-level AVoIP The innovations resulting from AVoIP’s continued development are limited only by the imagination, says AV engineer and Kramer APAC regional technical manager, Electronics multimedia, postproduction expert,David DavidChua Chua

requirements of each standard to meet the needs of your application’s Quality of Service, time sync, bandwidth, security audit and budget.

WALK ANY INDUSTRY TRADE SHOW FLOOR and you’ll see hundreds of systems touting AVoIP functionality. With the first wave of IP-enabled AV installations behind us, the technologies are now becoming robust and refined enough to bring value and peace of mind to both AV and IT professionals alike.

Cloud Another disruption will be powered by the cloud. With a cloud service tied into a networked AV model, AV professionals can take a unit’s serial address and Mac address and configure it even before shipping to a room. This dramatically reduces set up time for a global deployment.

Scalable approaches Just like any other element of audiovisual integration, there are myriad approaches to AVoIP. Use case, user needs and latency requirements will determine technical specifications. Common methods include MPEG2, H.264, H.265 (HEVC), VC2 and JPEG 2000. Consider 10Gb for no compression up to 4K/30 4:4:4, or lossless compression up to 4K/60 4:4:4 and latency at zero visible frames. Consider 1Gb JPEG 2000 and VC2 for visually lossless transmission, up to 4K/60 4:2:0 or 4K/30 4:4:4. Customers who deploy AVoIP systems are reporting more streamlined operations with the ability to deliver AV experiences at a larger scale, as they are no longer fixed by the matrix or finite ins and outs. The scalable AVoIP architecture is also a more efficient solution for long-distance transmission of signals using existing wires and the existing infrastructure in corporate offices, government applications or campuses with satellite locations. AV streamers encode and decode multiple audio, video and control signals over a standard IP network. AVoIP can also support recording, archiving and scaling, with the option to choose from unicast (one-to-one) or multicast (one-to-many) streaming to a decoder or computer running appropriate software.

IT methodologies Standardised systems built on common IT practices can also help users adopt new solutions more organically. Our current strategy at Kramer is becoming more and more about ‘AV-over-IT’ – to not only provide IT-friendly solutions but also focus on the workplace methodologies that IT professionals

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Kramer’s David Chua

IoT, AI and data More than 300 AVoIP decoders and 60 AVoIP encoders were used for the large-scale Tulalip Resort Casino in Washington are familiar with. In many organisations around the globe, AV is now a domain owned and managed by IT.

in parallel and some are interlinked. More flexible methods such as this should provide richer functionality for the user.

Software-based ecosystem Value proposition We also see AV’s inevitable migration towards software, propelled by the AVoIP demand. In the next 5–10 years, expect to sell fewer black boxes and more software. With the right system in place, software will tie AV together. It can control your distribution, codec processing, DSP, wireless presentation and collaboration. You can just buy the software and operate it off of whatever platform you want. Then, whoever offers the best user experience and inter face wins. It is a very similar paradigm to smartphones. The next chapter of IP-driven AV will spur the transition to platforms. This shift will reduce installation complexity and deployment. It will also support remote management and new service models like managed services and AV-as-a-Service (AVaaS). At Kramer, we are introducing multiple software licensed functionalities on single hardware platforms. Similarly, we support integrations with third-party software applications in which some work

It no longer makes sense to lay in proprietary highways for audio/video when you’re creating a system. The highways are already there in the form of the IP infrastructure. It is in every single building currently; it will be in every building going forward. With the progression of price points and the quality of the codec, we see this trend continuing. With AVoIP, a technology manager on a large campus can access the audio of three lecture halls from one location. If you need to patch a signal, if it is patched via the desk, it can be instantly accessible, eliminating the need to manually check on each unit. If there is an extended display identification data issue, for example, a notification will alert the tech team.

More transparency When DSP is networked, and there are less controls and buttons that users have to worry about, the more efficiencies are baked into a system. Bringing preamps and amplifiers onto the network will make it easier to configure and manage. Templates can make audio-over-IP project creation and routing more streamlined, while still allowing for customisation like gain settings, if needed. Audinate’s Dante is the market leader for audio-over-IP but there are other platforms, such as AES67, which can act as a bridge. Ravenna, AVB/TSN and SMPTE 2110 and SRT for video are a few others. The key is really that they must all ‘play nice’ on a network. Check the technical and licensing

With an IP-enabled system, you are closer to the two-way messaging needed for the IoT connectivity. Now imagine combining IoT, AI and the cloud with pro AV in multiple conference rooms across an enterprise. The system could identify room occupancies, audio and video usage, software usage and data visualisation. With AI-powered cameras, video conferences will be even smarter. We can also gather richer data by placing more AV devices and IoT connection points on the network.

Challenges that remain The AVoIP transition would be happening even faster if there was more awareness and education. While AV integrators know

Atlona’s dual-channel Omnistream AVoIP encoder HDBaseT very well, they may not be as familiar with network specifics like IGMP snooping. Similarly, some IT managers don’t understand the finer points of AV. Communication is important as well as the ability to align workflows. Security for AVoIP systems is of paramount importance. Manufacturers are getting serious about encryption, and a rigorous security process should be put in place to assess potential vulnerabilities. The same goes for bandwidth. AVIXA and ISE offer relevant AVoIP education and training. The Kramer Academy also includes courses focusing on core topics such as AV fundamentals, wireless collaboration and audio. These courses can be completed online as well as in classrooms; they also carry AVIXA CTS credits.

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