Pro AVL Asia July–August 2024

Editor’s Letter

Hello and welcome to our July–August 2024 issue, the completion of which feels like the jubilant arrival at a hard-won finishing line. This editorial cycle, from early May to mid-June, has been somewhat of a marathon, with our team spread out across the globe to cover the plethora of tradeshows during that period. But it’s done, and you can read about what and who we’ve been catching up with in the show reviews packing this issue: KOBA (p54), Prolight + Sound Guangzhou (p56), BroadcastAsia (p58), Palm Expo India (p60) and InfoComm Las Vegas (p62).

The tradeshow calendar is more crowded than ever this year, and

Email: cmoss@proavl-asia.com July–August

there’s little respite as Richard and Chris head to Bangkok for InfoComm Asia in mid-July before it starts up again in late August (Integrate Sydney) and into September, when another new show, Premium Audio Shanghai, joins an already-crowded month of events. While we’re grateful for a return to in-person events after Covid, I find myself wondering sometimes: what happened to the pledges to downsize and simplify when industry events resumed? I guess this proves once and for all that our industry thrives on personal connections and real-life interactions with colleagues from around the world. And what a joy that is to realise, once the jetlag subsides.

We regret that the loudspeaker setup at Shaw Theatre, Shaw Studios’ new Dolby Atmos facility in Hong Kong, was given incorrectly and related to a different studio at Shaw that Meyer Sound had also installed. Shaw Theatre has been installed with 79 Meyer Sound speakers comprising five Acheron 80 screen channel loudspeakers, 10 HMS15 and 36 HMS12 cinema surround loudspeakers, 12 X-800C cinema subwoofers, six VLFC (very low-frequency control) elements and 10 750-LFC (very compact low-frequency control) elements.

Richard Lawn General manager rlawn@proavl-asia.com

Bea Meikle News editor bmeikle@proavl-asia.com

Sue Gould Advertising director sgould@proavl-asia.com TELEPHONE: +44 (0) 1892 676280

Carolyn Valliere Sales associate cvalliere@proavl-asia.com

House, 18 Upper Grosvenor Road, Tunbridge Wells, Kent TN1 2EP, United Kingdom

Simon

Michelle Mooney Deputy editor mmooney@proavl-asia.com

Sphere Entertainment acquires Holoplot

Following its initial investment into Holoplot in 2018, Sphere Entertainment has announced it has acquired all the remaining shares of the company. The partnership between the companies saw the development of Sphere Immersive Sound, powered by Holoplot, when the Sphere venue opened in Las Vegas last year.

Sphere Entertainment’s CEO, MSG ventures, David Dibble and Paul Westbury, EVP, development and construction, both commented: “Holoplot is at the forefront of audio innovation

According to a report by Nikkei Asia, Panasonic plans to sell its projector business to focus on its digital supply chain systems. The report states that the manufacturer could decide on a buyer for the business shortly, with the estimated sale price being valued at ¥80b (US$510m).

Japanese financial services group Orix is said to have shown interest as a potential buyer for the projector business, as well as at least one international investment

and their custom-designed technology has already transformed what is possible for concert-grade sound. This acquisition reflects our company’s commitment to staying on the cutting-edge of immersive experiences as we explore growth opportunities for both Sphere and Holoplot.”

Reportedly the “world’s largest”, fully integrated concert-grade audio system, the Sphere Immersive Sound is used at the Sphere in Las Vegas, after first being introduced in 2022 at

Blaze takes on Cornered’s commercial range

Blaze Audio has acquired the Ci Series of commercial install loudspeakers from Cornered Audio. The acquisition will see the audio manufacturer take ownership of the complete series which will be available via its global distribution channels, while Cornered Audio will continue with its residential portfolio.

L–R: Hans Madsen and George Tennet

Panasonic “to exit projector business” L-Acoustics

L-Acoustics and global logistics provider Geodis have announced the opening of their regional distribution centre in Singapore. The new warehouse, which is the first for L-Acoustics in the Asia Pacific region, will serve as the distribution hub for its orders throughout the region.

“Our mission is to strengthen our ties with clients, creating a hub from which we can provide ideal support,” said Tim Zhou, CEO APAC at L-Acoustics. “The new warehouse will enable elevated customer service and faster delivery for their important projects.”

The global partnership began in 2018, when L-Acoustics appointed Geodis as its distributor in France and Europe, with Geodis providing the manufacturer with global end-to-end logistics solutions covering freight and customs and trade

business sale are reported to go towards the acquisition of another supply chain software developer.

www.panasonic.com

compliance management. The manufacturer noted that it chose to launch the centre in Singapore, which is a bonded/zero-GST (Goods and Services Tax) facility, with Geodis due to its

up bonded warehouses.

“Today marks a pivotal moment for L-Acoustics as we expand our regional logistics hub network

commercial range become part of a fast-growing and well-organised installation brand like Blaze Audio.”

www.blaze-audio.com www.cornered.dk

with the help of our partner Geodis, aiming to bring our customers the same level of service worldwide,” remarked Hervé Guillaume, CEO at L-Acoustics Group. “The foundation of our relationship with Geodis is built on a shared spirit of innovation and performance and a people-first mindset.”

Onno Boots, president and CEO of Asia Pacific and Middle East, Geodis, added: “This recognition of our shared values reaffirms that our commitment to excellence and care is valued by our partners. It is a testament to the strong relationships we have built, the service we provide and the trust we’ve earned.”

www.geodis.com     www.l-acoustics.com

Panasonic projection mapping at Petra

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Choose from multiple EW-DP sets based on your filmmaking needs. Each EW-DP set include an industry-leading wireless receiver unit paired with various mic and transmitter options, including the ME 2 omnidirectional lavalier, ME 4 cardioid lavalier, SKM-S handheld transmitter, and SKP plug-on transmitter with onboard recording to microSD card.

www.sennheiser.com/ew-dp

Audiotonix secures investment for expansion

Audiotonix has announced it has reached an agreement for a next stage investment from pre-eminent private equity firm, PAI Partners. The agreement follows on from the company’s partnership with global investment house Ardian which will maintain a minority stake in the company via a re-investment.

“I would like to thank Ardian for the confidence and their solid support of Audiotonix and all our brands since their investment in March 2020,” said James Gordon, Audiotonix CEO. “They allowed us to

continue our large investment into R&D and supported our desire to add the right brands to our portfolio.”

Gordon remarked on the new investment with PAI Partners: “We have spent the last 12 months selecting the right team to partner alongside us in our next chapter and I am happy to say the PAI team were a perfect cultural fit from our very first meeting. They come to us with a global reach and passion for music and technology that is a natural fit for our pro audio brands today and tomorrow.”

PAI Partners Colm O’Sullivan and Neil McIlroy both commented: “We are delighted to partner with James Gordon and the exceptional Audiotonix management team, alongside Ardian, in this next chapter of growth. Audiotonix is well-placed to benefit from positive structural tailwinds in the experience economy and diverse professional audio environments. We look forward to working with the team as the group continues to deliver market-leading, professional products, defining audio experiences worldwide.”

www.audiotonix.com

and will increase its human and financial resources to support the development.

“Digigram’s contribution is a valuable leverage to support both the technical and commercial development of OROS, as engaged in 2023 with the release of O4,” said Nicolas Denisot, product manager at OROS.

Operating in different segments of the critical communications market, with customers in the civil and military aerospace and maritime sectors, both parties hope the fusion will increase presence in the industrial, defence, security and transport markets.

human values, which is crucial to achieve a swift and seamless convergence,” commented Jérémie Weber, president of the Digigram group. “Together, OROS and Digigram will combine signal transport know-how with signal analysis expertise. This extensive approach opens up a whole world of possibilities to meet new needs and address increasingly comprehensive use cases.”

www.digigram.com www.oros.com

Proel launches in India

Expanding its global footprint, Proel has announced its entry into the India market. The manufacturer noted that the strategic move, which has been in development for three years, has culminated in a new warehousing and logistics facility in Bangalore that is set to extend across key regions in the country.

Proel’s Indian operations are based in Bangalore, led and managed by Nagaraj

Adamson has announced its new electronics production facility is nearing completion. The company has said the US$4m expansion is aimed at both

growing its production capacity to meet demands for new VGt flagship powered loudspeakers, as well as enhancing its audio manufacturing.

According to the brand, the new Fuji highspeed PCB assembly line can place 188,000 components per hour, with repeatable accuracy and is backed by three levels of Automated Optical Inspection. Measuring 1,525m2, it features in-floor heating, leadingedge lighting and air handling. The smart factory centres around production flexibility, predictive maintenance and automatic changeovers. Furthermore, Fuji production equipment features connectivity from design and prototype through New Product Introduction (NPI) and following with complete integration into ERP.

Adamson noted it plans to implement optimum interconnectivity and a full digital transformation of manufacturing processes, including new ERP software with the aim to improve transparency and enhance the customer experience.

www.adamson.ai

in Asia, which was welcomed by Proel’s CEO, Giacomo Sorbi, who shared the same vision for strategic expansion in the region’s market.

“Entering the Indian market directly aligns with our strategic growth objectives,” remarked Mahtani. “We are excited to engage with diverse stakeholders including government agencies, architects, consultants, systems integrators, retailers both on and offline, artists, engineers

INDIA

James Gordon

L–R: OROS’s Yannick Balter with Digigram’s Jérémie Weber and Xavier Allanic

The Proel India team

ROE Visual opens Australian office

ROE Visual has announced the official opening of its subsidiary office in Australia, as part of its strategic expansion plans. Located

Psychoacoustic Productions introduces BlacklineX to Malaysian market

“With the increasing business demands and client base in the APAC region, we recognised it has come to a point to set up a local service centre,” remarked Grace Kuo, sales director at ROE Visual. “Melbourne, as a major economic and cultural hub in Australia, boasts a vast rental customer base and the world’s largest LED studio, NantStudios, providing us with unique market advantages.”

The Melbourne facility’s demo space features a range of ROE Visual products, including Carbon CB3 MKII and CB5 MKII, Topaz TP2.6, Vanish V8T GOB and Graphite GP2.6. As market demand grows, ROE Visual plans to expand the sample display area to offer clients an even wider range of options.

The manufacturer noted that the establishment of the Australian office has been welcomed by its Oceanian clients, offering them local support in a market typically challenged by its geographical distance.

www.roevisual.com

The portable BlacklineX Powered series can be used for a range of professional applications, including corporate, house of worship and music venues. The system has optional Bluetooth control, streaming capability and a built-in threechannel mixer.

“We were comparing several active point source systems in a similar price range, and among all that we tested, Martin Audio really stood out in terms of delivering a sweeter sound – particularly on the higher frequencies,” said Pyschoacoustic’s founder, Haary Roshaahn Yograi. “It was the system that best suited our indoor venues.”

www.martin-audio.com

www.psysnl.com

Stage Core mixes Quantum 338s into Maldives event scene

Stage Core has announced its strategic investment in the DiGiCo Quantum 338 console, with the aim to elevate the events industry in the Maldives. Located in Malé, the production company is one of the largest in the country, providing a range of audio, visual and lighting solutions.

Stage Core is no stranger to the DiGiCo consoles, having previously utilised them for major events in the region. The company also noted that a multitude of technical riders specified the Quantum 338 console, further confirming the investment for the AV rental company.

Ahmed Haisham, managing director of Stage Core, noted the challenges faced by the Maldivian events industry. “We believe that the limited number of events in comparison to the global industry stems from the scarcity of professional equipment within the country,” he said. Haisham said that despite the challenges

the global tourism sector. “As one of the world’s leading destinations, the Maldives is poised to attract more artists and events in the future,” he explained. “By investing in top-tier brands like DiGiCo, we aim to provide a diverse range of

Furthermore, Haisham added that the company plans to expand its portfolio of professional equipment further, with the aim to ensure that it remains at the forefront of the Maldivian event scene.

www.digico.biz www.scmaldives.com

Analog Way holds Asia Conference in Macau

Held at the Grand Hyatt City of Dreams hotel, the Analog Way Asia Conference took place in Macau recently. The conference was attended by rental partners and distributors and showcased the manufacturer’s latest products.

“The conference was for our partners to come together as a community,” commented Guy de Souza, vice president – Asia, Analog Way. “The event was a great opportunity to show that we have an established distribution network, services centres in five countries and, of course, to show how our presence in the rental community has grown. The acceptance of our products has grown massively in Asia.”

Built on the success of 2023’s instalment in JeJu Island in South Korea which focused on staging and showcasing products, Macau placed an emphasis on training and service

and saw almost double the turnout with over 70 people in attendance. Many partners were recognised for their achievements including Kinoton Korea which was awarded the diamond Top Sales Award

for North Asia, while Acoustic and Lighting System achieved Top Contributor for Rental Staging Effort in Southeast Asia and ElectroAcoustics Systems (EAS) won Top Sales Volume for Southeast Asia.

The event followed on from the launch of the Aquilon RS5, RS6 and Cmax systems at ISE this year. Analog Way noted that following the conference, the first RS6s have already landed in Singapore, with EAS being the first partner to invest in it. Furthermore, Goldenduck in Thailand has purchased the Cmax system and already taken delivery of it.

“We have seen the acceptance and demand for the 6U chassis which includes the RS6 and Cmax following its launch at ISE and in Macau. With 16K processing and 32 seamless 4K60 inputs, it is a product that people are looking for. It has been widely received in the market and with showcases such as the one held in Singapore at the Marina Bay Sands on 16 May, we can only expect higher demand for the product,” added de Souza.

www.analogway.com

L–R: Ahmed Haisham, Abdulla Jinan and Ali Rashid of Stage Core

The Psychoacoustic Productions team with their new Martin Audio gear

Meyer Sound’s Listen, Lunch and Learn heads to Bangalore

INDIA

Following the success of the previous event in Mumbai, Meyer Sound’s Listen, Lunch and Learn event has moved on to Bangalore, the southern IT hub of India, to help educate another group of people on the latest advancements in sound reinforcement technology.

Held at the White Petals events venue in the heart of the city, attendees were able to listen to a comprehensive Meyer Sound system designed specifically for the setting. The setup included 2100-LFC subwoofers, an Ultra-X40 loudspeaker over a 750-LFC subwoofer and Leopard line array loudspeakers with ground-stacked 900-LFC subwoofers. Visitors were also able to experience UP-4slim wide-coverage loudspeakers over MM-10 subwoofers, Lina very compact line array loudspeakers ground-stacked over 750-LFC subwoofers and Ultra-X20 loudspeakers with the Spacemap Go spatial sound design and mixing tool.

The event attracted a significant number of audio professionals, including systems integrators, consultants, freelance engineers and rental company owners. Oscar Barrientos, Meyer Sound’s technical services manager, delivered a captivating presentation on best practices for using Meyer Sound products assisted by his counterpart from Singapore,

Andrew Poh, who flew in for the event and paid particular attention to Spacemap Go.

“Bangalore was a great opportunity to showcase the complete range of Meyer Sound products for people in India,” commented Neeraj Chandra, director of Sun Infonet. “These technical insights empower users to understand the true potential of Meyer Sound products and their optimal implementation. Attendees were able to talk about their requirements as customers and clients, listen to the products and network with each other. It was a fantastic event.”

A highlight of the event was the dancers’ performance which featured audio from Meyer Sound’s products, enlightening the audience to the distinct sonic characteristics of each loudspeaker configuration across the chosen musical track. Barrientos shared best practices for system optimisation, while Sun Infonet’s sound and application engineer, Jeremy Rana, spoke on executing a complex live show like Ed Sheeran in Mumbai and offered a behind-thescenes perspective on audio engineering for large-scale productions.

Jayakaran Samuel, senior live sound manager at Sun Infonet, remarked: “Listen, Lunch and Learn was a long time coming for Bangalore, especially after attendees were so receptive in Mumbai. It was a good opportunity for people in Southern India to get a taste of what Meyer Sound is all about. From a business point of view, it was a success, we got a great turn out and the feedback has been extremely positive.”

www.meyersound.com www.suninfonet.net

Sennheiser “Moves into the Future”

With the aim of strengthening the independence of its production, the Sennheiser Group has said it is investing significantly in its own production facility, including at its headquarters in Wedemark, Germany and its plant in Brașov, Romania.

In Wedemark, the company is investing in new technologies, particularly in printed circuit board assembly. A series of expansion and restructuring measures are underway under the banner of “Moving into the Future” which

company’s products, including its microphone capsules in its own clean room. In 2023, the company invested in a digital tool management system and 10 additional production systems for microphone components.

The Wedemark site’s first SMD 1 production line has been in use since 2017 and another line with double the production capacity was put into operation in 2022. Both lines work together to produce printed circuit boards on an assembly line. The SMD 1 system places components on

line to free up space. To increase capacity for printed circuit board production, two new reflow ovens have been installed in the production halls to allow four assembly systems to fit in the halls in replacement of the previous two.

Dr Andreas Fischer, chief operating officer and member of the executive management board, commented: “By continuous investments in the production capacities at the Wedemark site, we are making ourselves more independent of supply chains. In the past year, we have already invested around €5m here onsite. This year, it is more than €14m.”

The company’s headquarters specalises in technologies for high-precision, automated processes and the manufacture of the

Bruce

Bruce Johnston Audio has announced it is upgrading to a Nexo P15 for wedge monitoring, standardising on a box he first heard in a demo by Nexo’s Australian distributor Group Technologies.

The Australian company is owned by live sound engineer Bruce Johnston who has mixed for a multitude of bands including Hoodoo Gurus, Divinyls, Boom Crash Opera and Crowded House. However, it was during his 12-year stint as front of house for Oasis where he first discovered Nexo.

Bruce Johnston Audio currently looks after permanent rental installations in 20 live music venues across Australia where

25,000 pieces per hour with the help of eight placement heads. The machine’s relocation has allowed for the installation of four SMF placement systems on the production floor and, according to the company, the new reflow ovens allow it to increase its printed circuit board production capacity seven times.

A significant investment in the Brașov, Romania plant, which focuses on manual production and the final testing and packaging of products, is also in the pipeline. The manufacturer said it is part of a sustainable growth strategy which has seen the available production space triple in the last year.

www.sennheiser.com

TT+ Audio makes a grand entrance in India

TT+ Audio recently made its entrance into the Indian market with a launch event hosted by Hi-Tech Audio & Image. Taking place in New Delhi, the occasion was attended by audiophiles, industry experts and patrons and marked the first live demo of the TT+ Audio GTX systems in the Asia Pacific region.

Rajan Gupta, CEO-founder of Hi-Tech, commented: “From market research and product localisation to logistical arrangements and marketing initiatives, each aspect of the event was meticulously crafted to ensure a seamless introduction of TT+ Audio to our Indian audience.”

The Hi-Tech application team strategically deployed 18 GTX 10, 24 GTX 12 and 15 GTS 29 subwoofers which were used as guests filtered in. The launch also featured a live music performance from rock band Black Slade, which was followed by a highadrenaline DJ set comprising an electronic and progressive set-list.

TT+ Audio experts Federico Lugli and Emanuele Morlini were in attendance to offer

behind each speaker, with Morlini hosting a product presentation on the series. “We are grateful to Hi-Tech Audio & Image for their important collaboration on the GTX launch,” said Morlini.

Lugli added: “We have been associated with Mr Rajan and Mr Nirdosh for about a decade; their commitment to RCF has been exceptional, elevating the brand to a high degree of recognition in India. They succeeded in creating a solid and reliable organisation from the inside out, as well as from the dealer/customer perspective.”

Nirdosh Aggarwal, managing director of Hi-Tech, noted the event a success: “Feedback from those in attendance was overwhelmingly positive, with many expressing excitement about owning the system for their audio inventory. To make the Indian market familiar with the tonality of GTX, we are planning for more upcoming demos and listening sessions across India.”

the team are in the process of upgrading to the Nexo P15.

Johnston explained: “When we put the P15 on the floor and it fires away – that horn – we just went ‘wow, listen to that –that’s great!’ And we liked the fact that it had a little more bottom end than the other wedges we tried. I thought it’s much better to start from a powerful box and maybe if someone would want to remove a little bit of something they can, as opposed to trying to add something that’s not there. It serves the purpose of giving people volume and that’s what they want.”

www.nexo-sa.com

The transportation of the reflow ovens at the Wedemark site

Bruce Johnston

L–R: Rajan Gupta, Emanuele Morlini, Rong Zhao Yong, Federico Lugli, Nirdosh Aggarwal and Shaurya Gupta

Brompton Brainstorms broadcast partnership

Brompton Technology has partnered with Brainstorm 3D, which will see both companies offer a software solution designed for use in a wide range of applications, from large broadcasters to regional stations, production houses and content creation boutiques. Brainstorm 3D is a specialist company that develops real-time 3D graphics and virtual set software solutions for broadcast, feature film production and corporate presentations.

“Brainstorm shares our passion for technology and continuously pushes the envelope in product innovation,” noted Cesar Caceres, product lead at Brompton Technology. “We’re thrilled about this partnership and the opportunities it will bring to Brainstorm users working in the broadcast and feature film production industries.”   Developed by Brainstorm in close collaboration with the Brompton R&D team, the plugin solution offers control of the key features provided by Brompton’s Tessera LED processors directly from Brainstorm’s

interface. It has been designed to make it easier for users with Brainstorm and Brompton in their workflow to control the output of an LED screen without changing platforms, even as the image changes. The

Martin Audio and Generation AV team up for distribution summit

SINGAPORE

Martin Audio and Generation AV recently entertained all APAC distributors at the latter’s Singapore Experience Centre to celebrate growth and discuss future opportunities.

Dom Harter, Martin Audio managing director, was able to convey updates from across the Audio Reproduction division of the Focusrite group, which also includes Linea Research, Optimal Audio and TiMax. This was then followed up with a focus on the strides Martin Audio has made in its supply chain operation to help fuel growth in the region.

Harter, along with sales director Bradley Watson, provided demonstrations of both FlexPoint and THS point source solutions as well as a showcase of immersive sound solutions from sister brand TiMax.

Case studies were shared by distributors including Audio Brains and its work with rental partner MSI across a variety of live sound events, while Sino Huifeng showcased its success in the karaoke television (KTV) market

L–R: Martin Audio’s Bradley Watson and Dom Harter, Dinesh Mando of Vardhaman Mega-Tech and David McKinney of Generation AV

“Brainstorm users can access and adjust a full suite of Tessera software features such as OSCA, 3D LUT, ChromaTune, Extended Bit Depth, Frame Remapping and Ultra-Low Latency directly from our renderer,” explained David Moldes, Brainstorm’s product manager, who has been pivotal in this joint development. “The integration simplifies the process and enhances efficiency,

with users able to access a comprehensive suite of technologies and tools within the same interface.”

Brainstorm’s marketing and communications director, Miguel Churruca, said that the company employs advanced techniques such as set extension, creating an additional augmented reality render to overlay on the LED screen. “This approach eliminates the visible boundaries of the screen, creating a fully virtual set,” he explained. “To achieve this seamless integration, we rely on Brompton’s Tessera software suite, which facilitates matching the colourimetry of the LED volume with the virtual render.”

Brainstorm took the setup to NAB this year where it used Brompton’s 4K Tessera SX40 LED processor with a Unilumin LED videowall, showcasing real-time 3D virtual content featuring realistic backgrounds, tracked movies and augmented reality graphics to simulate a complete broadcast show.

www.brainstorm3d.com www.bromptontech.com

Harman hosts Connect Day Philippines

Taking place at the Sheraton Manila, Pasay City, the Harman Connect Day Philippines was attended by hundreds of dealers, consultants, systems integrators and audio, video and lighting professionals, and showcased the manufacturer’s latest technology solutions for the hospitality, corporate, education and government

“It’s currently a very exciting time at Harman,” said Amar Subash, VP and GM, Harman Professional APAC. “Throughout the Covid-19 pandemic, Harman continued its investment in research and development and Harman Connect Day Philippines allowed us

“The timing of this event is aligned with growth trends for hospitality and MICE in the Philippines,” commented Nick Screen, director of channel sales and audio, Harman Professional APAC. “The arrival of BSS OMNI marks the launch of the nextgeneration DSP platform and the arrival of the AVX suite of software, ushering in a new era of installed AV software at Harman.”

Screen noted that Harman’s five-year plan aims to expand brand coverage across the Philippines, including working alongside its partners to bring its full portfolio of products to untapped cities and markets

to showcase how those investments in nextgeneration hardware and software platforms offer innovative AV, control and lighting solutions that empower systems designers and elevate the customer experience.”

The manufacturer has also announced that its AV technology platforms are fully integrated, noting that its BSS OMNI will include onboard AMX MUSE technology and AVX Control will fully support AMX Varia touch panels.

in the region. “Harman is committed to growing our business in the Philippines,” he said. “To support this strategy, we have strengthened our local presence with the addition of Deomie Pagayonan as applications engineer. Deomie will work closely with Nicole Buenaventura, business development manager for the Philippines, to further develop and support the market.” pro.harman.com

TES adds to its ESPRITE inventory

As the first company in the region to invest in Robe ESPRITES, Christchurch-based production service and rental company TES has announced it has expanded its stock of the manufacturer’s profile luminaire. Founded in 2017, TES’s work includes concerts, summer festivals and corporate events. The company operates from a 1,000m2 warehouse in Woolston with 15 full-time staff onsite. Founder Alex Wilson has a background in stage lighting, while his business partner Brett Armstrong comes from the world of broadcast AV and IT. Before making the purchase, to see the fixtures in action the TES crew rented out the

LEA joins PSNI Global Alliance as PVP

PSNI Global Alliance has announced its partnership with LEA Professional as a global preferred vendor partner (PVP). The collaboration will see PSNI enhance its global offering with LEA’s smart amplifiers and networked audio solutions.

“We are thrilled to welcome LEA to the Alliance,” said Tom Roberts, director of vendor programs for PSNI. “Their innovative networked audio solutions and commitment to continuous innovation align perfectly with our mission. LEA’s Connect Series product line has been met with tremendous industry acclaim, showcasing their intelligent IT solutions, best-in-class DSP and smart power management –‘The LEA Advantage’. Together, we are poised to push boundaries and deliver unparalleled value to our customers.” Darrel Champagne, director of global business development for LEA, commented: “PSNI’s mission for the highest standards coupled with their reputation for innovation and excellence makes them the perfect partner for LEA and we are thrilled to be joining the Alliance. LEA’s mission is to deliver smart technology easily and seamlessly integrated within pro AV solutions and, through PSNI’s broad, global alliance of expert certified solution providers. We are excited to begin this journey together.”

www.leaprofessional.com

www.psni.org

transform.engine

by fourieraudio

ESPRITES and installed them in Christchurch Town Hall. Wilson cited the fixtures’ optical performance, gobos and gobo functionality, and the EMS function as key factors for TES’s investment. The luminaires have already been deployed for the Rolling Meadows Festival in Canterbury, for ballet productions at the Isaac Theatre Royal in Christchurch and the Legends on Tour show throughout New Zealand. Wilson noted his satisfaction with the luminaires, stating: “ESPRITES are a perfect fit for us at this moment.” www.robe.cz

64 channels.

LianTronics launches Japan subsidiary

LianTronics has announced the launch of its Japan-based subsidiary. The subsidiary was recently inaugurated at a grand opening ceremony hosted by the company with the aim to facilitate after-sales services and further localise its business network in the region.

Based in the Saitama Prefecture near Tokyo, the Japanese branch is located across a 500m2 showroom and warehouse, which

includes LianTronics’ technologies and solutions such as THE WOW 3D display, COB mini/micro LEDs and a conference room display solution.

LianTronics Japan also has many of the company’s models in stock, including retail, outdoor fixed and rental LED displays, with the manufacturer noting the new location will allow for quicker delivery with lower transportation and labour costs.

“We are thrilled to offer a comprehensive one-stop solution encompassing localised warehousing, engineering, pre-sales, aftersales and promotional services,” remarked Summer YE, EVP of international business at LianTronics and Esdlumen. “So our clients can be free from concerns about

PPDS partners with Appspace

PPDS has announced that Appspace is now certified, fully compatible and available for remote installation with the PPDS Wave ProStore. The partnership will make it easier to deploy the workplace management and experience platform with Philips Android SoC displays.

The Appspace workplace experience platform is designed to connect people, places and spaces using digital signage, space reservation, employee apps and intranets. As part of the Wave ecosystem, Appspace can now be selected, remotely distributed, updated and managed from any

the complexities and risks associated with cross-country trade, this streamlined approach not only simplifies the process but also significantly enhances trade efficiency.”

www.liantronics.com

location, offering users full control over the display and configuration.

applications on the ProStore, we ensure the best user experience for our customers,

Sian Rees, PPDS’s business development director – Wave and software partnerships, commented: “By partnering with premium providers like Appspace and adding their

enabling them to customise for their specific use case and industry with trusted and proven platform partners. In addition, Wave allows them to easily and remotely install

these apps and manage and scale their fleets.”

Paul Alley, director – technology and alliance partnerships at Appspace, remarked: “We have worked closely with the PPDS team, who share our obsession for creating bestin-class user experiences. Being part of the PPDS ProStore brings greater opportunity for customers to access our Appspace solutions globally and delivers more value to their partners and customers.”

www.appspace.com www.ppds.com

Creative Rock invests in JBL VTX A-Series

Long-standing partner of JBL Professional and Electronics & Engineering (E&E), Creative Rock has announced its investment in the JBL VTX A-Series for applications in Singapore and Malaysia. The service provider serves a wide range of clients such as governmental bodies and local and international corporate entities across applications spanning conferences, live events and exhibitions.

Creative Rock has added 40 units of the VTX A8, as well as 20 VTX B18 subwoofers and Crown IT4x3500HD amplifiers. Zaki Mustapa, managing director at Creative Rock Malaysia, noted the investment is part of the company’s plans to expand its

capacity to meet the demands of its diverse portfolio of clients. “We evaluated quite a number of systems during this upgrade process and chose the JBL VTX A8 system for its versatility and performance in such a compact package.”

“Our relationship with Alex and Zaki dates back to 2010 with their purchase of the JBL VT4888 and VT4887ADP systems and we are elated to be continuing on this journey with Creative Rock, more than a decade later, with the next generation VTX A-Series from JBL,” remarked Gary Goh, E&E CEO.

creative-rock.com www.jblpro.com

Advanced Systems Group delves into AI

Technology and services provider Advanced Systems Group (ASG) has launched its “AI and Advanced Analytics” practice which allows for the delivery of complete AI solutions. The AI team will focus on how the latest developments in AI can optimise and grow client operations.

Andy Darcy, CTO at ASG, commented: “As part of our new AI practice, we’ll take a deep dive into our clients’ current workflows and determine how AI can enable future growth and expand creative capabilities. As their trusted partner, it’s our job to advise our customers in what is one of the most significant breakthroughs of our time.”

Tyler Berry, director of sales, AI and analytics, added: “With a solid team of AI practitioners

forming the backbone of our group, we’re able to draw on their experience solving challenges using a portfolio of AI solutions. The first step is for us to show them what’s possible and then implement the right AI processes.” Berry noted that as part of the practice, ASG will team up with Augmented AI to bring industry experts together. Augmented AI assists ASG’s AI and Advanced Analytics practice for industries including healthcare, life sciences, manufacturing, security, hospitality and more.

www.asgllc.com

www.augmentedai.ai

L–R: Zaki Mustapa of Creative Rock with Gary Goh of Electronics & Engineering

Audio Gears partners with Funktion-One in Thailand and Vietnam

Funktion-One has selected Bangkokbased Audio Gears as its distributor for Thailand and Vietnam. The manufacturer noted that through the partnership it hopes to leverage Audio Gears’ industry expertise and strong connections in the local markets.

“We are delighted to welcome Audio Gears as our distributor for two very important markets,” commented Funktion-One’s director of business development, Andrew Low. “They understand and believe in the Funktion-One approach to audio excellence. We look forward to working with them to deliver exciting projects in the region.”

Audio Gears has a team of engineers and technicians with expertise in audio production, installation and maintenance services, led by technical director Attaporn Sanguanphak. The company was found by owner of Production Company and long-time live sound engineer, Jesada Pattanatabut alongside Bob Siripremanant, owner of After

Rishabh

Miracle Plus Company. Both CEOs have over 60 years of experience in pro audio rentals, live sound and concert production management in both Thailand and the wider Southeast Asia region.

“We know the quality that we are looking for and have found that quality in Funktion-One’s products,” said Siripremanant. “We strongly believe in Tony Andrews’ vision and share his passion for audio quality.”

Pattanatabut added: “We want to tell everyone in Thailand and Vietnam, especially the club, bar and hotel managers and owners, as well as audio rental companies, that the wait is over; an exclusive Funktion-One distributor is now officially open and 100% active on the ground in Thailand and Vietnam. We look forward to supporting all your requests and requirements.”

www.audiogears.asia www.funktion-one.com

to distribute Neutrik’s Rean brand in India

Neutrik EMEA has appointed Rishabh as its new distribution partner for the Rean product portfolio across India. Previously, Neutrik Group had one distributor for all three of its brands on the subcontinent, and the move has come as part of its plans to enhance brand visibility.

Neutrik acquired Rean – originally a UK brand – many years ago and, in 2022, decided to start using the name for the products it manufactures in its factory in China. “There’s a lot of competition from connection manufacturers coming out of China and, for us as Neutrik, manufacturing in Europe, we couldn’t really compete with

Proel has appointed Swedish Trading Company as its new distributor for Sri Lanka. The announcement was made during Palm Expo India and the new partners were in attendance on the Proel stand, which was also announcing the launch of its own Indian operation.

“We have placed our first order, which will be installed into a home theatre, and we’ve travelled here to be with Proel at the show,” commented Swedish Trading Company’s CEO, Lasith H Senanayake. “We’ve been marketing samples for the past two months and the feedback has been good. We are expecting the brand to do well in houses of worship, conferencing facilities and restaurants, and their portable PA systems will appeal to musicians – we have a lot of live bands in Sri Lanka. Proel’s product range will now allow us to cover the whole spectrum, from

support but also the installed market where

decade as their dealer and take great pride now that we are distributors of the Rean range of products. India is a very large market with different customer segments and our aim with the Rean product range is to target the untapped market that want the quality of a flagship Neutrik product, but at a lower price point. We have great confidence in Neutrik’s research and development and believe that Rean’s extremely competitive price will greatly suit our customers in the Indian market.”

microphone to mixing console to amp to speaker; we can provide a turnkey service and Chandan Mahtani, managing director, M-Global Singapore and India, said: “We’ve been talking to the Swedish Trading Company over the past few months. There’s good potential in countries such as Sri Lanka so we took the opportunity of being here at the show to meet them and we’ve signed the deal today. What’s attractive about this partnership is that they are part of a group of companies with multiple verticals, they’ve got both a rental arm and also the distribution side so there’s a lot of confidence regarding how The company also represents audio brands

L–R: Elio Caia, Giacomo Sorbi, Lasith Senanayake, Chandan Mahtani, Luca Pasquinelli and Dhanushka Fernando

L–R: Audio Gears’ technical director Attaporn Sanguanphak, CEO Jesada Pattanatabut and COO Bob Siripremanant

L–R: Biren Sheth of Rishabh with Neutrik’s Christoph Hellmuth

Audio Brains to distribute K-array in Japan

JAPAN

Solidifying its presence in the Japanese market, K-array has appointed Audio Brains as its distributor for the region. Audio Brains offers a range of audio and communication equipment catering to a wide range of clients, including stadiums and halls, live music companies, audio firms, conference facilities and educational institutions. In celebration of the partnership, a dedicated showroom featuring the manufacturer’s products will be opened in Yoyogi, located in the Shinjuku area of Tokyo,

Furman appoints Jands

ZEALAND

Jands has signed an exclusive distribution partnership with Furman in New Zealand. The partnership marks a notable expansion of Jands’ portfolio, leveraging years of distribution with Furman products in Australia.

“This partnership reinforces our presence and brings world-class solutions tailored to the needs of our New Zealand customers,” noted CEO and managing director of Jands, Phil Muffet.

Established in 1974, Furman provides power conditioning and distribution products, as well as energy management solutions. The company’s products are utilised in applications ranging from live performances and recording studios to broadcast operations and commercial installations to provide safety and performance of electrical equipment.

Kit Watson, general manager of Jands New Zealand, said: “In line with our mutual dedication to quality and customer satisfaction, Furman’s reliable power solutions perfectly complement our mission. We’re committed to enriching the customer experience within New Zealand, backed by excellent local support.”

www.furmanpower.com

www.jands.co.nz

to provide clients with the opportunity to experience K-array’s audio solutions firsthand.

“We are excited to partner with Audio Brains, a company that shares our passion for superior audio technology and exceptional customer service,” commented Francesco Maffei, global sales director, K-array. “Their extensive experience and established presence in the Japanese market make them the perfect partner.”

Junta Yamazaki, president at Audio Brains, added: “Audio Brains is thrilled to partner with K-array. As a distributor of premium audio brands, we believe that adding K-array to our line-up will enable us to deliver superior audio solutions to our customers in Japan.”

www.audiobrains.com

www.k-array.com

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L–R: Shin Yamada of Audiobrains, Alessandro Tatini and Francesco Maffei of K-array, Junta Yamazaki and Yusuke Karato of Audiobrains and Massimo Ferrati of K-array

Indonesia through dealer network expansion, post-sales support, training and education provided by the distributor.

Jakarta-based Aquila Data Indonesia specialises in the distribution of AV and UC

education, corporate and other enterpriselevel projects.

“Indonesia’s commitment to modernising its education system and enhancing corporate enterprise capabilities has opened

“We’re thrilled to bring 1 Sound to India,” remarked Shreyans Chowdhary, director and CEO of Smato Technologies. “This partnership goes beyond brand expansion; it’s about broadening horizons. It means offering our dealers and customers an exceptional experience, not just through outstanding professional audio products, but also through superior pre-sales design and post-sales service support. With premium materials, customisable options and cutting-edge technology, 1 Sound offers a compelling package tailored for the Indian market. We’re eager to embark on this journey of lasting success together.”

B&C announces distribution changes

CHINA

The B&C Group has announced it will be taking direct control of all B&C Speaker product distribution in China.

After purchasing Eminence Speaker’s Chinese production facility last year, B&C Speakers has now established a 6,000m2 manufacturing and distribution facility in Dongguan, with all factory workers relocated to a new building situated near the original Eminence location.

B&C Speakers CEO, Lorenzo Coppini, commented: “While establishing the group’s first manufacturing and distribution location in China this past fall, it became quite obvious that we had a great team and an organisation that is quite capable of serving the Chinese market in a more direct and effective manner.”

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fit for the Linea Research product range, aligning

The manufacturer noted it doesn’t plan to produce B&C branded products in China for the foreseeable future; however, it will continue to produce transducers under the Eminence brand name as well as OEM transducers focused primarily on the pro audio and MI product categories.

“We would like to thank JJ Chen, Kevin Lin and all of the Baisheng staff for their decades of hard work and dedication towards establishing B&C Speakers as a market leader in China,” remarked Ron Tizzard, CMO and sales director for B&C Speakers.

Furthermore, B&C has announced that former Baisheng sales manager Kevin Lin has now joined the B&C Group as sales manager for the company’s branch in China. In his new position, Lin will work closely with Walter Su, sales manager at Eminence Speaker, to cover the needs of all B&C group customers in the region.

www.bcspeakers.com

L–R: Altona’s Kurt Loh with Bun Handry of Aquila Data Indonesia

L–R: David Wong and David McKinney of Generation AV, Rico Xu and Michael Wang of Guangzhou Guidance with Davey Smalley and Martin Hildred of Linea Research

L–R: Leonardo Dani of 1 Sound with Smato’s Shreyans Chowdhary

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Shure appoints Antony Lovell as sales director

SOUTH ASIA

Shure has announced Antony Lovell will be joining the company as sales director for the Middle East, Africa and South Asia regions.

In his new position, Lovell will lead a team of sales professionals, working closely with channel partners and key stakeholders, to cultivate strong relationships and identify new business opportunities in the locales.

“I am honoured to have been entrusted with this responsibility and am eager to work

with our talented team to deliver exceptional solutions and services to our customers in these regions,” noted Lovell. “I am committed to fostering strong relationships, identifying new business opportunities and driving growth for Shure.”

After joining Shure in 2018, Lovell has held various positions including global market development manager for discussion systems and conferencing as well as helping to establish Shure’s global accounts effort. The company noted that throughout his tenure, he has demonstrated strong leadership abilities and a deep understanding of the audio industry.

“We are thrilled to elevate Antony to his new role as sales director,” commented Jose Rivas, VP and chief sales officer at Shure.

“His experience, expertise and passion for the industry make him an ideal fit for this position. We look forward to his leadership and contributions to further expanding Shure’s market reach in these important regions.”

www.shure.com

Dibble joins Coda Audio

Coda Audio has announced the appointment of Robin Dibble as global sales support manager, leveraging the extensive experience and wide-ranging audio expertise he has gained throughout his career.

Dibble has worked in various roles for many notable companies in the industry, including in system design, installation and commissioning, as well as supervisor training, technical presentations and freelance FOH engineering. Over the course of his career, he has worked in a range of international settings such as stadia, clubs, theatres, cruise ships and broadcast environments.

“We are very excited to have a person of Robin’s calibre on board,” commented Coda Audio international director of sales and marketing, David Webster. “Robin will be a huge asset to the Coda Audio international team and I’m looking forward to working closely with him.”

Dibble noted his enthusiasm for his new position: “I’m very much looking forward to

Microhire has appointed Susan Hamilton as director of sales and marketing. In her new position, she will work closely with regional managers and be responsible for actively supporting Microhire’s venue partners across Australia, as the company continues to expand into overseas markets including New Zealand and Fiji.

her astute insights,” said Jamie Hughes, CEO, Microhire Group. “With our business expanding, Susan’s appointment will further strengthen our team’s unity across Australia and overseas.”

During her 20 years in the events industry, Hamilton has led sales teams delivering business objectives and marketing strategies and she has worked across many notable events including Tourism Australia ATE, Lord Mayor’s Business Awards and G20 Leaders’

meeting all our partners and helping to bring a hands-on, practical approach to technical support for Coda Audio. There’s a lot to get excited about with Coda right now – it’s great to be a part of that.”

www.codaaudio.com

Microhire welcomes Susan Hamilton distribution sales director

At Microhire, Hamilton will lead and mentor high-performance sales teams across the APAC business, activating strategic marketing campaigns, effective sales business plans and executive reporting, as well as actively promoting the Microhire brand within the

“I am thrilled to take on the new role of director of sales and marketing at Microhire,” noted Hamilton. “With a multitude of noteworthy projects underway, I couldn’t be more excited to utilise my experience to enhance Microhire’s exemplary reputation and highlight its incredible work and trusted

www.microhire.com.au

distribution relationships worldwide, as well as its brand development within each of the group’s regional distribution facilities around the globe.

“Patty has grown to be an increasingly more important part of our brand experience and we are excited to see her step into this distribution management role,” commented Ron Tizzard, CMO and sales director at B&C. “This is a

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Gordon Moore named Lectrosonics chairman of the board

With a wealth of experience in the audio and AV industries, Gordon Moore will join Lectrosonics’ board of directors as chairman. Moore first joined the manufacturer back in 1988 and after 35 years at the company he announced his retirement in September last year.

“I am happy and very grateful that Gordon Moore has accepted the nomination of chairmanship of the Lectrosonics board of directors,” commented Wes Herron, current Lectrosonics president. “His vast knowledge and experience are a tremendous asset for the company and we are excited to utilise his expertise in his new role.”

Throughout his expansive career, Moore has garnered many accolades. In 1991, he became an instructor for the International Communications Industries Association academy, teaching audio systems design, theory and troubleshooting. Nine years later, he was voted “Educator of the Year” by the InfoComm Professional Education and Training Committee and, in 2015, he was named chairman of that committee. In 2000, following his role as vice president of sales and service at Lectrosonics, he was appointed president of the company.

www.lectrosonics.com

Q-SYS announces APAC management changes

Q-SYS has made significant management changes to its APAC team. Joanna Hui has been promoted to senior director, business operations, HR and admin and managing director, Hong Kong. Duncan Savage has been promoted to vice president and general manager, APAC, and Paul Lee has been appointed director, SE Asia and managing director, Singapore. Hui joined Q-SYS in 2022, with the company noting her active participation

SOUND DEVICES

in the establishment of the first APAC Experience Centre in Singapore as instrumental to expanding the company’s reach in the APAC region.  Savage joined the company in 2017 as managing director, UK and has nearly two decades of experience in the AV industry. In his new role, he will work with Q-SYS’s regional teams to develop collaboration across the company’s network in the EMEA and APAC regions.

Kamal Mahtani has joined PreSonus as director of sales APAC, part of Fender Musical Instruments Corporation (FMIC). Mahtani will be responsible for creating and implementing sales strategies, ensuring positive customer experience and building marketing support amongst other duties.

Most recently, he was the business development head of audio and systems integration at Rebel AV, a distributor of Funktion-One. His responsibilities involved international sales management and business development. Prior to Rebel AV, Mahtani served as the sales and marketing director for

and the manufacturer noted that under his guidance, Q-SYS’s operations in Southeast Asia have grown drastically, citing his efforts in establishing the Singapore Experience Centre. The company also announced that after five years of dedicated service, William Chan, managing director and senior director, North Asia, will retire in July this year.

www.qsys.com

beyerdynamic Asia and had a sales leadership role at Klotz. “With over 21 years of experience in the pro audio, recording, installation, commercial and MI markets, Kamal brings his vast experience to create and manage our PreSonus strategies throughout the Asia Pacific region and will be a key member of the PreSonus global management team,” said Jeff Cary, senior vice president, global sales at PreSonus. “His knowledge of the market and his sales expertise will make him a strong addition to the PreSonus team.”

www.presonus.com

Gordon Moore

Joanna Hui

Duncan Savage

Paul Lee

Kamal Mahtani

Dan Roncoroni appointed TiMax product manager

TiMax has welcomed Dan Roncoroni to its leadership team in the newly created role of product manager. In his new position, Roncoroni will focus on expanding the company’s presence across the performance, presentation and experiential markets. Roncoroni’s role as product manager incorporates business development, product management and application support for TiMax’s growing distribution network. He will utilise his extensive contact network of consultants, integrators and end users to develop the business into current

and new market spaces, while reflecting customer requirements into future product development.

“I’m looking forward to working with a set of products that has had such an impact on what I do,” said Roncoroni. “I’ve worked with every spatial audio product on the market, but TiMax has been my go-to solution. With my understanding of the product and where the market is at, I hope to add to the brilliance of the product.”

TiMax noted that the newly created role of product manager progresses the work evolved

by company directors Robin Whittaker and Dave Haydon, respectively product director and commercial director, following the move of TiMax into the Focusrite Group last year. Haydon commented: “Robin and I are delighted and privileged to have Dan join in this new product management role; he brings so much to it in terms of his understanding of the relevant market sectors and potential new directions as well as his vision for product development.”

www.timaxspatial.com

Dan Roncoroni

Moving Mountains

Christiane Hirtler-Fleisch, Neutrik business development manager of customised product solutions, talks to Bea Meikle about her often dangerous, but deeply rewarding, involvement in mountain rescue

role centres around what we produce or buy in the region and I spend a lot of time liaising with our Chinese colleagues. A big part of my role entails supporting the sales team as we don’t have a catalogue for our products, so I am responsible for ensuring the customer and the sales team understand the products.

How did you get involved with the mountain rescue?

I am a naturalist; I’ve always loved the outdoors and being in the mountains. When I was a child, my father used to take our family to the mountains several times a month which I didn’t appreciate at the time but, as I got older, I started to develop more of a passion for it. Then, 12 years ago, I decided to

part of the team?

The regular training to become a mountain rescuer takes two years. If you are very passionate you can do another two-year course to become an instructor at the mountain rescue service. I am an instructor for the regular trainings and for canyoning. I also volunteer for the Austrian Mountain Association as the Alpine leader for our area and there I am responsible for the programme we offer our members and the training of our tour guides.

Do you have to pass any physical tests to be a part of these groups?

You must be able to climb at a certain level and you have to be an excellent skier. You also have to attend a mountaineering tour to show that you are fit and can keep up with the group. We do three-hour trainings twice per month to stay on top of our technical requirements. We also do whole-day lessons and trainings where we practise our rescue techniques for summer and winter conditions, first aid, avalanche rescue techniques, etc.

Is there anything else you have to learn to be a part of the team?

We also get mental health training because sometimes, when an incident occurs, we may have to console family or friends, so we must know how to handle those difficult situations in the right way. Where I live, there are bridges nearby that people have tried to commit suicide from and we will get called in to assist with that, which is very tough. But when you are dealing with those kinds of situations, you learn how to be sensitive and just try to support as much as possible.

Are you and the team very close?

above using infrared lights, so we had to turn off our lights and walk in the pitch black. That was a very tough experience. Why is mountain rescue so important to you?

We are a small group, there are around 38 of us and we are all very good friends. Because we experience a lot of tough stuff together, that brings us closer. But we also experience a lot of great things

I have a real passion for mountains and for adventure sports and I am proud to be a part of the team. I also think because I’m at the mountain rescue service, I am a very secure person and have a deep respect for nature because I understand how dangerous it can be, so I take it seriously and I like to make sure other people do as well, so that they don’t get themselves into dangerous situations on the mountains.

Christiane Hirtler-Fleisch

The small team are good friends and have a close bond

Robe Spiiders illuminate Taipei Performing Arts Center

TAIWAN

The Taipei Performing Arts Center (TPAC) is reportedly the first theatre in Taiwan to install Robe Spiider fixtures. Forty of the LED wash beam luminaires were delivered by Robe’s Asia Pacific subsidiary in Singapore, arranged by local Taiwan dealer DLHG run by Jackson Yu. TPAC plays host to a wide range of productions from Taiwanese dance and performance groups to drama, opera, musicals and Asian co-productions to acclaimed international works. Spanning over a total space of 50,000m2, the centre features different geometrical architecture including its sphere-shaped, 800-seat Playhouse, asymmetrical 1,500-seat Grand Theatre, as well as the flexible Blue Box studio space.

Before the installation, senior technical officer Yi-Ming Liu alongside TPAC head of lighting Pang-Yan Lin Ling and the lighting team created a spec for the ideal LED wash beam. The team wanted a fixture to complement TPAC’s 2,000 pre-existing luminaires as well as be able to fulfil a range of lighting designs and save time and personpower for productions. Furthermore, as TPAC doesn’t have in-house LDs and works with a range of freelancers who light their own international and touring productions, the team also wanted a fixture that is known worldwide.

Liu was instrumental in the investment of the fixtures, citing them as the “most powerful and efficient solution with the best range of authentic colour temperature whites and optimal energy savings for all types of production design”.

www.robe.cz

Japanese superstar aiko captivates fans with immersive tour

Pop star aiko’s sold-out Love Like Pop Vol. 24 tour in Japan immersed audiences with L-Acoustics L-ISA technology, specified by the tour’s sound engineering company Kentec in collaboration with rental agent Hibino Sound. From Osaka-jo Hall to Tokyo’s Nippon Budokan, fans were engaged in intimate moments when aiko’s vocals harmonised with sparse musical instrumentation and expansive and panoramic soundscapes that stretched beyond the stage.   Hibino Sound’s systems engineer Masaaki Nagayasu worked with aiko’s touring mix engineer Mitsuru Kotoya to design a system that could be adapted from venue to venue. “We believed that the spatial representation and resolution provided by L-ISA technology would take aiko’s emotionfilled concerts to another level,” explained Nagayasu.

Both Kotoya and Nagayasu set up a studio with an L-ISA configuration based around the manufacturer’s X8 coaxial speakers to prepare mixes for the tour using files from the singer’s previous concerts. “In the studio, we found that

subtle nuances of a song could be expressed in a live concert environment,” noted Kotoya.

“As someone responsible for supporting and presenting an artist’s creativity in the concert venue, I found this particularly compelling.”

With their files prepped in pre-production, Koyota and Nagayasu focused their attention to mixing during the live shows, determining the artistic vision for each musical piece by evaluating the visual layout onstage. Both parties then set the parameters for the objects to create natural separation and a sense of unity in the music.

The main scene system comprised five arrays of K2 with KS28 subwoofers flown behind the centre and additional KS28 ground-stacked in front of the stage. Delivering extension and out-fill were Kara II loudspeakers, while A10 Focus boxes provided spatial fill. To power the system, LA12X amplified controllers were deployed with L-ISA Processor II operating over a Milan-AVB network, using a combination of LS10 and Luminex AVB switches. Nagayasu calibrated the system using the M1 suite of measurement tools

in LA Network Manager. Over 100 input signals ran through a DiGiCo Quantum 7 mixing console.   Nagayasu concluded: “L-ISA Controller allowed us to create object localisation. Its user-friendly interface gave us a stress-free creative process.

Sonos Libra deploys audio for HYBS

HYBS’s farewell concert, HYBS Well Done, took place recently at the Show DC Hall Arena in Bangkok. The commemorative performance was supported by Thai audio distributor Sonos Libra and featured an array of audio products from Allen & Heath, Earthworks Audio and Adamson. The Thai indie pop band’s performance was their first dedicated concert as a group.

As the exclusive distributor of Allen & Heath in Thailand, Sonos Libra was called in to support HYBS’s front of house engineer Bejmin Chairos who is a regular user of dLive, having acquired a dLive Wings system last year for his touring acts around the APAC region. Chairos also requested Adamson’s E Series for the project, which was supplied by rental company ProPacific.

The main FOH setup featured Allen & Heath’s S5000 mixing surface, DM48 MixRack and DX32 Expander equipped with Prime I/O

www.l-acoustics.com

cards. For monitors, mix engineer Boy Karusak Kentawai utilised Allen & Heath’s C1500 Surface on analogue split. The main PA system included Adamson E15 loudspeakers with E219 subwoofers to provide low-frequency audio, as well as S10 line arrays which delivered down-, front- and side-fill. In addition, Earthworks DK7 and DM6 Seismic Cardioid condenser kick drum mics were incorporated.

Sonos Libra CEO Alfonso Martín said: “Every time we combine our audio chain of fast impulse response products with talented musicians and engineers, it creates magic for the ears. HYBS’s Bangkok show was probably one of the bestsounding concerts I’ve ever attended.”

www.adamson.ai

www.allen-heath.com

www.earthworksaudio.com

www.sonoslibra.com

With each concert venue, we were able to perfect the system while elevating the immersive sound experience for aiko’s adoring fans.”

JAPAN

THAILAND

Image courtesy of Takayuki Okada

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RTM Sarawak experiences a Smart makeover from Stagetec Asia

Uniting the linguistic and multicultural diversity across the East Malaysian state of Sarawak, Radio Televisyen Malaysia (RTM) has served as the region’s public broadcaster since 1946, with content tailored for listeners living within numerous isolated communities.

To amplify Sarawak’s distinctive cultural and linguistic heritage, RTM Sarawak boasts a curated selection of radio stations. The division caters to the state’s multifaceted demographics with broadcast information, education and entertainment aired in various languages and dialects. Stations like Sarawak FM and Red FM cater to Malay, Melanau, English and Chinesespeaking audiences, mirroring the region’s linguistic plurality. Simultaneously, Wai FM Iban and Wai FM Bidayuh are dedicated to championing the Iban and Bidayuh cultures, respectively.

Demanding future-proofed, high-fidelity audio broadcasting, RTM Sarawak committed to a thorough upgrade of its Kuching facilities in 2023. In collaboration with Asiana Sdn Bhd, Stagetec Asia was commissioned to design and install a Dante audio-over-IP (AoIP) network solution. Stagetec Asia’s proven track record in executing complex audio

infrastructure projects was instrumental in being awarded the RTM Sarawak project. “We have partnered with RTM for almost 20 years and our relationship was recently enhanced during the extensive Media City project at Angkasapuri Kota Media in the capital,”

commented Stagetec Asia managing director, Advon Tan.

Central to the daily operations of Red FM, Wai FM (Iban), Sarawak FM, Wai FM (Bidayuh), a Standby OnAir Studio, a VIP Talk Studio and the main control room (MCR) broadcasts are aired from DHD SX2 Smart IP modular on-air consoles. Equipped with motorised faders, triple 10.1-inch multi-touch displays and a central control and monitoring area, ease-of-use operations are conducted from a single GUI touchscreen. Enhancing the efficiency and reliability of the broadcasts, a DHD router network management system, implemented by Stagetec Asia, connects each DHD console. The dual main and backup XC Series Core radio routers promote hybrid interface capabilities for connecting both analogue AES/ EBU and Dante/AES67 AoIP digital audio inputs. Independent from PC-based systems, the XC2 Series Core radio routers eliminate the requirement for hard disks or batteries leading to a reduction of studio noise.

DiGiCo Quantums perform

Presenting a line-up of music artists performing Hong Kong and Cantonese music, the Sheng Sheng Bu Xi (Endless Melody) music competition featured DiGiCo consoles at front of house and monitors. Jointly organised by China and Hong Kong, the TV show is co-produced by Mango TV, the online video platform of Hunan TV station and TVB.

The show is divided into three seasons: Sheng Sheng Bu Xi: Hong Kong Music Collection; Sheng Sheng Bu Xi: Taiwan Music Collection; and Sheng Sheng Bu Xi: Carnival. Focusing on various eras of the rich history of Hong Kong pop music, the first season featured a collaboration between Mainland China and Hong Kong musicians. The second season transported audiences through the songs of Taiwan’s golden era, while the third season explored the grand theme of “Chinese Music”.

Sound engineer He Biao elected to use a Quantum 5 at front of house and a Quantum 7 for monitoring. “The Quantum 5 was fundamental in integrating all the elements of the diverse onstage ensemble, which comprised a 24-piece orchestra, an electroacoustic band, a percussion group and individual performers,” he said. “Three SD-Racks were included on the optical loop. As the show is recorded, six sets of MADI were used for main and standby recording, a key factor contributing to the choice of the Quantum 5.”

Complementing the inclusion of DHD console technology, Stagetec has integrated a collective suite of Yellowtec m!ka microphone arms, Zenon Media All in One radio automation, AVT Magic telephone hybrid and phoner sets and Sonifex peripherals into each studio. “The Zenon Media All in One radio automation system offers a complete solution for managing and automating radio station operations, including audio and metadata management,” added Stagetec Asia’s senior project manager, Yap Wei Keong. “By enabling bidirectional transfers of content both within RTM Sarawak and other regional stations, the system streamlines the scheduling and playout of broadcasts while facilitating the integration of detailed metadata.”

The inclusion of Focusrite Pro AoIP RedNet PCIe soundcards and Dante Domain Manager software ensures that security of the low-latency AoIP network is enhanced with user authentication, role-based access control and encryption. Specified for its high-quality audio output and adherence to broadcasting standards, the MCR setup also boasts an RTW TM7 Dante loudness meter and an Omnia 9 multi-band FM broadcast transmission processor.

“The RTM Sarawak project extends the successful partnership between RTM and Stagetec Asia,” described Tan. “Driven by our client’s visionary outlook, we continuously pursue innovation on their behalf. As a result, the bespoke automation, AoIP networking and visual enhancement turnkey solution we have designed extends their broadcasting capabilities. Having adopted this design, RTM Sarawak can evolve its broadcasting services over many years to come. The RTM Sarawak project is not merely an upgrade – it secures RTM’s status at the zenith of the sector.”

sarawakfm.rtm.gov.my www.stagetecasia.com www.yamaha.com/2/proaudio

The show had a high number of IEM inputs and personal monitor mixer outputs and required almost 60 aux channels with Biao noting the console streamlined the show’s workflow and simplified setup for visiting engineers, as layers could be dedicated to individual artists. experience for all three seasons of the show,” concluded Biao. “We particularly www.digico.biz

MALAYSIA

CHINA

The Red FM studio

The studio at Wai FM Iban

Yamaha powers sound at Jiak Kim House

SINGAPORE

The newly opened Jiak Kim House restaurant features a Yamaha background music system, designed and supplied by PAVE System. Originally built as a conservation warehouse in the 1920s, the building has played host to many functions during its lifetime, including as a nightclub in the 1990s.

The objective for the project was to implement a system to cover the front and rear dining areas with sound that wouldn’t be affected by the high ceilings. Furthermore, due to Singapore’s strict guidelines on the renovation of heritage buildings, as the space features steel ceiling structures which are over a century old, ceiling speakers could not be installed.

Additionally, the system needed to blend with the venue’s architecture and not impact on the décor. It’s also controlled by the bar staff and located at the entrance of the restaurant in a central “island”. The difficulty in concealing wiring meant using a conventional surface-mount controller was not an option. Lastly, another challenge posed was that the restaurant wanted to use the previously installed speakers in the hallway, so needed amplifiers with enough power and channels to drive both the new and existing speakers.

For the front and rear dining areas, Yamaha VXL1-24 and VXL1-16 slim line array speakers were implemented, due to their paintable design and ability to deliver high directional sound throughout the space. To gently boost the bass levels and deliver balanced sound, VXS10S surface-mount subwoofers were installed. Driving the VXL Series speakers are PX5 and PX3 power amplifiers with an XMV8140 multichannel power amplifier driving the VXS10S subwoofers and the existing speakers in the hallway. Managing the

system is an MTX3 matrix processor, which is controlled wirelessly from a tablet in the bar area running the ProVisionaire Touch app. “We are impressed with the consistent and expansive coverage delivered by the VXL Series speakers,” said Wang Heng Thean, director of sales at PAVE System. “They eliminated the need for the extra cabling which is typically required when using conventional point source speakers, enhancing the efficiency of the system design and contributing to the most cost-effective solution.”

The owner of Jiak Kim House restaurant, Tan Wee Tuck, commented: “The unobtrusive profile of the VXL Series speakers made them the perfect design. On top of that, all the other great features that came along with the

system were a real bonus for us. Working in an environment with products meticulously designed by exceptional minds is a valuable perk for our staff.”

www.yamaha.com/2/proaudio

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Created by Shanghai Media Group (SMG), the popular outdoor reality show Go Fighting! Treasure Walk utilises a 40-channel Sennheiser EW-DP system to deliver sound quality and reliability for complex outdoor scenes.

Now on its fourth season, Go Fighting! Treasure Walk – Harmonious Countryside is filmed at a number of locations across all regions of the country, posing significant challenges for the audio system design. Xu Mengyu, head of audio, was responsible for the season’s sound recording, including vocals, ambient sound and sound reinforcement.

Following more than a month of field testing and comparison, Mengyu elected to implement the EW-DP solution for the production. “We tested the EW-DP to its limit,” he noted. “It performed amazingly well. The subsequent recording process went smoothly, with the EW-DP delivering clear

and stable sound quality, reliability and a great user experience. When I need to change the frequency on the spot, the EW-DP is intuitive and easy to operate, saving me a lot of valuable time and energy.”

Due to the many sources of interference presented by an outdoor recording location, the audio team faced many complications during filming including frequency dropouts or sound loss.

“The EW-DP’s stability is so strong,” added Mengyu. “It is almost completely unaffected by any external signal interference.”

Additionally, outdoor programme recording has very high requirements for

director needs to listen to the guests in real time. To combat these issues, Mengyu’s team designed a radio system for the programme with one transmitter matching four receivers.

The EW-DP EK receivers feature a magnetic stacking system. The first EK receiver is mounted onto the main camera through a magnetic mounting plate, with the second and third receivers connected to two Sound Devices 688 recorders for recording backup audio files. In addition, Mengyu modified the antenna of one of these receivers with a Sennheiser ADP UHF passive directional antenna to enhance the signal reception range to better ensure the stability of the signal in

The fourth receiver was used by the executive director for monitoring.

“The EW-DP’s powerful OLED display brings great convenience to our work,” concluded Mengyu. “It faces the cameraman and we know the exact runtime of the batteries at any time without having to rely on experience to make an estimate, which allows us to deal with unforeseen situations. This is very important for outdoor reality show recording. There is no doubt about the outstanding performance of the EW-DP. Its flexibility in use has also made our audio system design much easier.”

www.sennheiser.com

DHD and Yamaha consoles remotely networking in Sarawak

Delivering content tailored for listeners living within numerous isolated communities, the Sarawak Broadcasting Department boasts a curated selection of radio stations that amplifies the region’s distinctive cultural and linguistic heritage. Located in the East Malaysian state of Sarawak, the broadcaster provides listeners with information, education and entertainment that is aired in various language and dialects. Home to many indigenous speaking populations, the isolated communities required a voice. Unable to travel to the regional studios, these remote listeners are now served by a fleet of outside broadcast (OB) vehicles.

Forming a major part of the 2023 digital radio OB equipment upgrade project, the Sarawak Broadcasting Department invested in six OB vehicles to enhance remote productions within the isolated areas of the state. In addition to an Off-

In addition to DHD DX2 10F desktop audio mixers provided by Stagetec Asia, the portable audio fulfilment for each of the five remote vehicles comprises Yamaha CL5, QL5 or QL1 consoles. Acknowledging the invaluable contribution played by VME Broadcast, RTM director of the Facility Development Division (BPF), Tuan Haji Ismail Seman, emphasised the broadcaster’s commitment to enhancing the quality and creativity of the state’s broadcasting services.

www.rtm.gov.my

RTM Sarawak invested in six new OB vans which have been equipped with a selection of Yamaha CL5, QL5 or QL1 consoles

for the project. Reflecting on the partnership, YMM Pro Audio manager Hana Hussain commented: “Despite facing numerous obstacles such as supply chain disruptions and logistical hurdles, we successfully supplied all the necessary equipment within the specified time period.”

Broadcast Van (OB) based in Kuching, five four-wheel drive vans needed to be equipped with portable audio, visual, lighting and radio broadcasting technology.

Following a public tender, systems integrator VME Broadcast was awarded the contract to equip all the vehicles located at the remote RTM sites in Sri Aman, Sibu, Bintulu, Miri and Limbang in addition to the OB van in Kuching. Specified for their performance and reliability, Yamaha Music Malaysia (YMM) supplied 20 digital consoles

The inventory comprises nine CL5, six QL5 and a further five QL1 control surfaces, all operating with newly supplied, dedicated Rio3224-D2 and Rio1608-D2 stageboxes. Four CL5s and a single QL5 are allocated to be used by the Kuching headquarters for front-ofhouse and monitoring mixing. Portability of use was another specification cited by the Sarawak Broadcasting Department and so VME Broadcast was tasked to supply a mini studio, together with live streaming and lighting systems as part of the package.

www.stagetec.asia.com

www.yamaha.com/2/proaudio

MALAYSIA

A single Yamaha QL5 plus four CL5 consoles are installed in the main RTM Sarawak studios in Kuching

Christie fuses art and technology at NTSEC attraction

The National Taiwan Science Education Center’s (NTSEC) new attraction known as “The Black Box” features visuals powered by Christie’s laser projectors and integrated solutions. Aimed at promoting technology, academic research and creative works by local artists and content creators, the venue is Taiwan’s first L-shaped immersive projection space featuring 8K resolution

Longstanding Christie partner Dacoms Technology facilitated the installation and commissioning of the solutions. “We recognised an opportunity to support Taiwan’s vibrant creative community by collaborating with NTSEC to establish ‘The Black Box’ immersive theatre,” said Terence Lee, executive vice president of Dacoms Technology. “This collaboration provides content creators and artists with an accessible platform for research and experimentation that can be appreciated by visitors of all ages. It sets the stage for them to showcase their work on a global scale.”

Measuring 13m in width and height, the large L-shaped space utilises Christie’s 4K10-HS

1DLP laser projectors, Pandoras Box software, AirScan and the Mystique automated camerabased alignment and recalibration solution.

“The 4K10-HS and Christie Pandoras Box offer

AEQ Forum console gets airtime in Australia

Founded in 1981, Radio 999SWR is a community radio station broadcasting to the Greater Western and metropolitan areas of Sydney. The station recently installed an AEQ Forum IP digital console in its main broadcast studio, coordinated by AEQ’s Australian partner, Broadcast Components.

SWR 99.9 FM is a primarily volunteer-run organisation, funded through listener support, grants and sponsorship. It covers a wide range of musical styles through local access programmes and broadcast programmes presented by special interest groups or in languages other than English. The radio’s technical management team reportedly elected to upgrade to the console due to its ease of use, operational abilities and audio quality. Broadcast Components was responsible for equipment refurbishment, commissioning, configuration and operator training.

Designed specifically for on-air broadcast control, the Forum IP Split incorporates the

basic features for radio usage, including automatic monitor cut, cough cut, faderstart, signalling control, control signals for the automation of external equipment, external communications management, intercommunication and more. In addition, the IP Split version comes with the FR CORE modular engine in three rack units and it can be composed of up to six quad fader modules and a control and monitoring unit. The station is now also equipped with the AoIP multichannel input and output cards compatible with the latest AES67 protocol via Dante technology. This connectivity allows signals to be picked up and delivered to other consoles, routers and other input and output terminal equipment from various manufacturers. It also provides the option to choose MADI connectivity and can be equipped with up to two internal digital telephone hybrids.

www.aeq.eu

outstanding performance, enhanced by Christie Mystique, which automates the warping and blending process,” added Lee. “This autoalignment software is particularly useful in

Taiwan, which is prone to earthquakes. With just a simple click, the operator can swiftly correct any image misalignment, ensuring a flawless display without interruption.”

Jason Yeo, senior sales manager for Southeast Asia and Taiwan, Enterprise, Christie, commented: “We’re deeply grateful to Dacoms Technology for their exceptional work in creating awe-inspiring immersive displays with our projection and integrated solutions at ‘The Black Box’. The dedication and expertise of the Dacoms team have truly elevated the visual experience, showcasing the remarkable fusion of technology and art.”

“It’s truly gratifying to create this exceptional venue using Christie’s cutting-edge projection and integrated solutions,” concluded Lee. “We eagerly anticipate welcoming more content creators to utilise ‘The Black Box’, showcasing their work and demonstrating how immersive technology and art can enhance the audience experience.”

www.christiedigital.com

Powersoft amplifies audio at the Goethe-Institut

Nestled in Hanoi, the Goethe-Institut has implemented Powersoft’s T Series amplifiers to power sound in its multipurpose room. The language school promotes and provides German cultural and educational programmes worldwide.

Local integrator PROSound Vietnam was engaged to provide a solution for the space.

“The multipurpose room had to follow our client’s high standards and have a clear, lively and detailed sound for teaching, presenting arts and playing classical, pop and folk music,” noted Nguyen Viet Trung, CEO of PROSound Vietnam. “It was important for us to not only deliver pristine and vibrant audio but also ensure that the system’s appearance aligns with the esteemed standards of the Goethe-Institut. We have previously used Powersoft amplifiers, finding them versatile and easy to work with.”

Three T Series models – T604, T302 and T302A – have been installed in a control room 15m away from the furthest speakers. The amplifiers deliver 6,000W from two

channels (T302/T302A). Two TW Audio full-range T20i and four full-range M8i loudspeakers are reinforced by two B17i subwoofers. A pair of Sennheiser Micro EW100-G4-ME2 microphones and a DiGiCo S21 mixer complete the setup.

“Powersoft has already made the perfect programmes for the speaker models and for us that’s the best support we can ask for,” concluded Trung. “The final outcome exceeded the client’s expectations, garnering positive feedback from both teaching sessions and live performances. The GoetheInsitut can now deliver a high-quality audio experience that complements their worldclass educational offerings.”

Arthur Soh, Asia regional sales manager at Powersoft, added: “We are delighted that PROSound Vietnam opted for our versatile and reliable T Series amplifiers. Ensuring pristine audio quality is paramount for institutions like the Goethe-Institut to captivate and engage their students.”

TAIWAN

VIETNAM

“The Black Box” at NTSEC

Beam steering

A game-changing solution for themed attractions and stadiums

Renkus-Heinz’s OmniBeam is revolutionising audio experiences and making beam steering accessible for a wider range of applications

WHEN IT COMES TO AUDIO SYSTEMS, beam-steering loudspeakers are often associated with houses of worship. However, this innovative technology is making significant strides in large venues such as themed attractions and stadiums. Renkus-Heinz’s OmniBeam is at the forefront of this revolution, offering a novel solution to common audio problems faced by large venues.

Common audio challenges in large venues

Themed attractions, stadiums and arenas present unique audio challenges. Ensuring clear and consistent audio coverage across expansive areas filled with various obstacles and audience zones can be daunting. Traditional line arrays, while common, often fall short in addressing these issues due to their inherent design limitations.

Traditional line arrays can struggle to direct sound accurately, often dispersing audio to areas without audiences or failing to reach all audience members effectively. Additionally, maintaining speech clarity for announcements is critical yet challenging in large, reverberant spaces. Acoustic adjustments can also be time-consuming, requiring significant expertise from established professionals who may not be present.

The beam-steering solution

Beam-steering technology, particularly OmniBeam by Renkus-Heinz, addresses these challenges head-on. Similar to aiming the beam of a flashlight, steerable loudspeakers target beams of sound precisely where needed, enhancing audio quality and coverage consistency to provide an improved experience for everyone in the audience.

By aiming sound directly at the audience, beam steering reduces reflections, reverberations

and feedback, thus enhancing pristine speech intelligibility and music reproduction. The technology works by using multiple drivers in a cohesive array, each with separate amplification and digital signal processing, which allows for targeted sound distribution by overlapping acoustic beams akin to flashlight beams. This also ensures that consistent audio coverage can be maintained across large areas. Adjustments can also be made to ensure that audio levels are appropriate for different sections of the audience, providing a uniform listening experience.

The OmniBeam advantage

While traditional beam steering has a reputation for complexity, OmniBeam simplifies the setup of beam-steered systems, combining exceptional acoustic results with ultimate ease-of-use. With advanced algorithms and a user-friendly interface, OmniBeam reduces the need for extensive knowledge and time investment, making beam steering accessible for a wider range of applications.

The algorithm automatically generates ideal settings for each unique venue, ensuring

optimal sound distribution with minimal manual intervention. With just a click of the “Snap to Audience” button, OmniBeam delivers precise, consistent audio coverage from the front to the back of the venue, enhancing the overall audience experience.

In large venues, beam-steering technology offers several practical benefits. OmniBeam’s intuitive interface reduces the need for repeated adjustments and extensive microphone placements, saving time and effort during setup. Additionally, integrators can easily modify coverage by adjusting onscreen aiming handles, providing quick and effective control over audio distribution. In stadiums and themed event spaces, the audience experience is paramount. By ensuring clear and consistent sound, beam steering elevates the guest experience, whether it’s a sporting event or a themed attraction.

Ballpark of the Palm Beaches

A prime example of the effectiveness of beam steering is the Ballpark of the Palm Beaches, the spring training home of the Houston Astros and Washington Nationals. This state-of-the-art facility employs two dozen Renkus-Heinz IC Live beam-

steering arrays to provide clear, consistent audio across its 6,500-seat main field.

Despite the complex layout with slender support columns and custom speaker poles, the IC Live arrays deliver powerful sound with precise coverage. The adjustable aiming angle ensures every section of the stands receives even audio coverage, enhancing the spectator experience.

Expanding the potential of beam steering

Beyond stadiums, beam steering has vast potential for themed attractions and amusement parks. These venues often have varied and complex audio requirements, from background music to live announcements and sound effects. Beam steering can tailor the audio experience to different areas, ensuring that every visitor enjoys clear and immersive sound, regardless of their location within the park.

Moreover, the flexibility of beam steering makes it ideal for temporary events and exhibitions.

Portable beam-steering arrays can be quickly set up and adjusted to meet the unique audio demands of any event space, providing high-quality sound without extensive installation time.

Conclusion

Beam-steering technology, exemplified by Renkus-Heinz’s OmniBeam, is transforming audio experiences in large venues. It addresses common challenges by providing precise, customisable and consistent audio coverage. By simplifying setup and offering user-friendly adjustments, OmniBeam makes the highestquality sound accessible for themed attractions, stadiums and other large venues, ensuring that every event is an audio success. This technology not only enhances the audience’s experience but also streamlines the work of integrators, making it a win–win solution for the entire industry.

The adjustable aiming angle ensures every section of the stands receives even audio coverage

OmniBeam simplifies the setup of beam-steered systems

The Ballpark of the Palm Beaches uses 24 Renkus-Heinz IC Live beam-steering arrays

HH Audio keeps the beat in Cambodia

Situated in the Boeung Kak district of Phnom Penh, the recently opened Ai Pub has incorporated an HH Audio TNA line array system to power sound for live band performances, DJ sets and promotional nights. The 700-capacity party venue places an emphasis on non-stop music and dancing and features an 875m² open space with a stage for live entertainment. The team at Ai consulted with Cambodian AV supplier Sounin Development to find a solution that was cost-effective, compact and could be ground-stacked or flown to deliver powerful SPL.

Ian Wright, global sales director for HH Electronics, commented: “We recommended an HH TNA line array system which is ideal for this kind of installation. It delivers very punchy highquality audio from compact loudspeakers, easily handling the demands of what is a very varied programme. The client didn’t hesitate to go with our recommendation

and is very happy with the system, which sounds superb.”

Ai Pub’s TNA system comprises one TNA-2120SA 2x 12-inch active subwoofer and six TNA-2051 2x 5-inch passive loudspeakers per side, supplemented by four TNA-1800SA single 18-inch active subwoofers as fill.

Driving a further six generic fills is an M-750 2x750W amplifier. For stage monitoring, two TRM-1201 compact active monitors have also been incorporated. Driving the whole system is an SP48 digital speaker management system which contains presets for use with the TNA line array to enable ease of setup.

An engineer at Sounin Chann remarked: “The Ai Pub has been an instant hit in Phnom Penh, hosting a number of high-profile appearances by leading DJs and bands. We’re proud to see the TNA line array at the centre of this unique and eye-catching venue.”

www.hhelectronics.com

Genelec drives sound at ARTA in Japan

Located in the Shinkiba area of Tokyo, ARTA has unveiled its new motorsports hub, ARTA Mechanics & Inspirations, which features Genelec’s 4000 Series speakers to power audio. Born from a collaboration between Japanese F1 racing driver Aguri Suzuki and Japanese car parts

Six compact 4020 loudspeakers have been deployed discreetly throughout the space and staff can choose from a variety of curated playlists to match the mood of the day or a particular event. According to the team, the

manufacturer Autobacs Seven, ARTA is the largest racing team in the country and a well-established brand providing a range of luxury products including custom cars, watches and apparel.

Set in a converted warehouse, ARTA Mechanics & Inspirations serves as a place for visitors to immerse themselves in the brand experience. Autobacs Seven brand business sales manager Naoto Oyama said that the Genelec loudspeaker system plays a significant role in creating the ambience for the space. “We consider sound as one of the most important tools for creating atmosphere, so a high-quality audio system was very important for us,” noted Oyama. “Genelec fulfilled all our criteria, namely premium quality audio, elegant design, ease of installation and ease of use.”

external amplifiers or extra cabling were required. Oyama added that the Genelec system has provided consistent sound coverage through the store and doesn’t interfere with conversations with customers. “The design matches really well with the industrial feel of the store – and I like the fact that the loudspeakers are made of recycled aluminium, that feels like a really good fit for us in motorsports,” concluded Oyama. “I’m also impressed with the sound we achieve from such compact boxes –collectively they fill the space with sound and perfectly reproduce the atmosphere of the racetrack.”

www.genelec.com

Internet Radio Islamic of Sarawak unveils new studio

The Internet Radio Islamic of Sarawak (IRIS), wholly owned by Lembaga Amanah Kebajikan Masjid Negeri Sarawak (LAKMNS), has successfully upgraded its streaming services with the help of JAA Systems, transforming IRIS’s broadcast and streaming capabilities by integrating cutting-edge audio, as well as for the first time, video technology.

JAA Systems acted as the turnkey solutions provider for the upgrade, ensuring the integration of the latest technology suited to IRIS’s needs, which included the implementation of an Axel Technology Oxygen 2000 on-air mixer, Prodys’s Quantum Lite mobile IP audio codec and the Jazler Radio automation system.

In addition, the studio has been outfitted with a visual radio system which features a Canon 4K camcorder and the Aten UC9040 StreamLIVE PRO live video switcher. The visual radio system allows IRIS to broadcast live video to social media platforms in conjunction with traditional

streaming radio, which has expanded its reach and engagement with its community of listeners.

“The enhancements to our studio mark a transformative step for IRIS, pushing the boundaries of what we can offer to our listeners and viewers,” said Puan Haryati binti Mohamad, head of admin and publicity division at LAKMNS. “With these advancements, we are now able to deliver high-quality Islamic content not only through audio but also through compelling video broadcasts, reaching more people than ever before, across Sarawak and beyond.”

Ts. David Chan, CEO of JAA Systems, added: “We are honoured to have been selected by IRIS for this pivotal upgrade. Our commitment was to deliver a seamless integration of both audio and video systems that would set IRIS apart in the field of digital broadcasting. Seeing the project come to fruition with such success is incredibly rewarding.”

www.facebook.com/IRISnangsteady www.jaasys.com

Work Pro provides tasteful audio at PF Chang’s

To elevate the dining experience, the recently opened PF Chang’s outlet in Mumbai has installed an audio system designed by Pink Noise Professionals comprising Work Pro speakers, provided by Equipson. The Lower Parel branch is the first in the country of the renowned PF Chang’s chain which has over 300 locations worldwide and is recognised for its distinctive flavours and signature aesthetic that pays homage to Chinese culture.

An abundance of gold, black and red tones accent the venue’s interior to capture the essence of the Far East, with custompainted brand murals, a bar and a window into the kitchen all adorned with a vibrant colour palette to transport diners on a culinary journey through Asia. Owner of the restaurant and long-time partner of Pink Noise Professionals, Gourmet Investment, enlisted the AV supplier to design an audio system to complement the venue’s sensory experience.

“When we heard about the opportunity to install the music system at PF Chang’s, we were buzzing with excitement,” commented Vijay Sinha, director of sales and marketing at Pink Noise Professionals. “We had several rounds of discussions to really understand what the client needed, especially given PF Chang’s Asian vibe and very specific requirements. After multiple

sessions of brainstorming, we confirmed that Work Pro speakers and subwoofers would be perfect for the job.”

Three pairs of Work Pro NEO 6 loudspeakers and one pair of NEO 6 IP loudspeakers all housed in black have been installed discreetly throughout the venue to seamlessly tie in with the interior design. Pink Noise Professionals selected

a four-channel Work Pro PA 1254 amplifier to power the system and provide immersive and balanced sound throughout the restaurant. Furthermore, two Work Pro ARC SUB 12 MKIIIs provide low-end definition, a Mark MAX 6 FX USB provides audio mixing and cabling is over NORSTONE CL-150 SPK. “I’m happy to say, the result exceeded all expectations,” concluded Sinha. “The music truly adds to the venue’s vibe and

it has elevated the dining experience at PF Chang’s. Our dedication to delivering topnotch solutions shows just how committed we are to our customers. I can’t wait to see what else we can achieve together with Gourmet Investment.”

www.equipson.es

www.pinknoisepro.com

www.workpro.es

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TimeZone high score for Gracia Auvindo

Indonesia may stretch across three time zones, but there are more than 80 TimeZones now situated across the archipelago. Offering an extensive collection of arcade game machines and fun activities, TimeZone is a chain of indoor family

Reinforced BGM plays a leading part in the creation of the TimeZone experience. The specification to create clear full-range audio, however, needs to cut above the noise floor generated by amusement games, bumper cars, bowling alleys, driving

entertainment centres that first originated almost 50 years ago in Perth, Australia. First venturing into Bali in 1995, the Indonesian operations owned by Lippo Group member, PT Matahari Graha Fantasi, has successfully grown the brand. In addition to Batam, Manado, Medan, Surabaya, Yogyakarta and six locations in the capital of Jakarta, the Summarecon Mall TimeZone in Bandung typifies the audio design fulfilled by PT Gracia Auvindo.

CVS and DVS speakers needs to be extensive. Our clients continually specify Tannoy as they rarely fail, comply with high standards and fit within the most demanding budgets. In addition to delivering an even SPL for the client, the installation-

games and excited youngsters. In addition, each location requested specific zoned audio requirements. Having landed in its first TimeZone in 2021, PT Gracia Auvindo has added to an already impressive score by creating the precise ambience demanded by PT Matahari Graha Fantasi.

Naturally, a budget needed to be fulfilled as managing director Thomsen Phan elucidates. “Owing to their high priceperformance benefits, our stock of Tannoy

friendly features of these in-ceiling speakers minimise the time spent onsite for our engineers.”

A largely ceiling speaker solution comprising Tannoy CVS8 8-inch coaxial speakers provides an even dispersion across various themed attractions, including the party room, games area, bumper cars, play & learn and music zones. To provide a more discreet appearance for these enclosures that are suspended from

the open ceilings, Gracia Auvindo supplied and installed customised speaker housings. Several zones are further reinforced in the lower frequencies down to 66Hz (–3dB) with the addition of CVS801 S in-ceiling subwoofers.

Time-saving features include removable locking connectors, a clamping mechanism for cable strain relief and security toggle clamps. The bowling area required a more direct reinforcement and, as such, Tannoy DVS 8t surface-mount speakers are directed into the bowling lanes. Fixed to steel brackets, the ABS 5.7kg enclosures are further equipped with finger-adjustable hardware and a low insertion loss line transformer for 100V distributed audio. Furthermore, processing and amplification costs are minimised. In addition to promoting energy efficiencies, a single Lab Gruppen E-40:4 4,000W four-channel amplifier has displayed proven low running costs courtesy of its efficient Class-D design. The inclusion of IDEEA (IntelliDrive Energy Efficient Amplifier) technology draws minimal mains current while producing high power levels. Digital speaker management parameters including crossovers, FiR filters, EQ, delays and limiters have been programmed in a PhaseLab 4800 four-in/ eight-out processor. For higher SPL events including birthday parties and live shows, wireless and wired microphones can be connected to a PhaseLab 8FX eight-channel mixer.

Having perfected its game plan to precision, PT Gracia Auvindo appears unlikely to relinquish its commanding position across the TimeZone halls of fame.

www.graciaauvindo.com www.timezonegames.com

INDONESIA

TimeZone audio reinforcement in Bandung’s Summarecon Mall is provided by a Tannoy speaker system

FBT Powers Sound for the Coca-Cola Epic Weekend concert

Attended by an estimated 15,000 people, Battambang Province’s open-air Coca-Cola Epic Weekend concert featured a complete FBT audio system provided by Power Sound.

Due to the event’s outdoor setting, the Power Sound team had to ensure the system balanced the acoustics. This involved precise calibration to avoid any distortion or feedback, ensuring that the sound quality remained consistently high, regardless of where the audience was situated. Additionally, engineers Renesh Kumar Nair at FOH and Vimal James used sophisticated software to fine-tune the performance of the system with realtime audio monitoring and adjustments.

The FBT solution comprised two MITUS 212FSA processed flyable active subwoofers with 12 MITUS 206LA active precision coverage vertical arrays implemented per side. Four MUSE 218SA subwoofers were positioned at the front, with four at the rear in end-fire mode per side.

Bright Brewery’s blazing audio

Situated amidst the rich alpine landscape, Bright Brewery has recently upgraded to a Blaze Audio solution provided by Jands, to enhance the sonic experience throughout the venue. Located in the heart of Bright, Victoria, the brewery offers locals and tourists finely crafted beer with idyllic views overlooking the river, parks and mountains of the High Country.

its power output capabilities and ability to amplify up to four zones which was ideal for the brewery’s expansive space. Stage two of the upgrade is yet to be completed; however, discussions are already underway to introduce additional Blaze amplifiers to complete the project.

“We’re happy with the transformative power of the

The management team elected to undergo a two-stage audio upgrade to add to the vibrant atmosphere of the venue which has experienced a recent rise in popularity and demand.

The first phase of the upgrade included the installation of the Blaze Audio PowerZone 1004 amplifier, selected for

Blaze Audio PowerZone 1004 amplifier,” said the Bright Brewery’s management. “Its seamless integration has truly improved our brewery experience and we eagerly anticipate the next phase of our audio upgrade journey.”

www.blaze-audio.com

Additionally, four MITUS 206LA active precision coverage vertical arrays delivered front fill, while two Stagemax 12MA stage monitors were implemented for active reinforcement.

Shikleong Hor of Power Sound Cambodia commented on the project: “With the skills and expertise of Renesh Kumar Nair at FOH and Vimal James, they adjusted the levels, frequency response and dynamics of the system to create a balanced and immersive sound experience for the audience. Their dedication to their craft and attention to detail ensured that every individual in the audience could hear each note and lyric clearly. The combination of the FBT Mitus line array system and the Coca-Cola brand made for a successful and memorable concert that left attendees wanting more.”

www.ps-powersound.com

RCF makes noise at Garfield Picture Theatre

Originally built in 1924 to screen films and host dances, Garfield Picture Theatre now regularly plays host to a variety of local live productions and events. The space recently upgraded to a Maestros RCF line array system with the help of Melbourne-based AV equipment supplier JD’s Sound & Lighting.

The theatre elected to extend its PA capabilities to facilitate performances, weddings, corporate events and dances. JD’s Sound & Lighting was enlisted to design a system capable of handling the space’s full spectrum of audio requirements, including the need for both gain and clarity.

“Our sights were set on improving our front of house system, which had poor fidelity and really lacked head room,” explained Garfield Picture Theatre’s audio engineer, Jesse Kelly. “The goal was to fly a compact left and right line array configuration that wouldn’t let us down on show nights.”

Mike Nikitiuk, JD’s sales and project manager, suggested the HDL 20-A system based on the construction and sonic qualities of the HDL Series. The theatre audio solution comprises an L-R hang of three HDL 20-A and one HDL 18-AS active subwoofer per side and the rig is

lightweight to allow for easy reconfiguration for future expansion.

“We knew Garfield Picture Theatre needed highpowered speakers for the space, so the HDL 20-As provided a fantastic price-to-performance ratio and an unmatched reliability,” said Nikitiuk. “When the clients came into the showroom for a listen, they were blown away by the demo speakers and even ended up purchasing a greater quantity than we had anticipated.”

Kelly added that the system has provided optimum audio quality at a considerable volume.

“Our new setup has plenty of head room, meaning we no longer have to compromise between sound quality and volume,” he said. “The change has been very positive and in the near future we would like to add an extra two HDL20-A boxes, taking the system to four per side plus sub.”

Co-owner of Garfield Picture Theatre, Fred Perez, remarked: “Since purchasing and installing the RCF HDL 20-A into my venue, I have seen how much of a difference it has made to our production quality. My audio technician enjoys working with the units and I am very happy with our purchase.”

www.rcf.it

Tunnel vision requires audio solution

Connected to the Bintaro Xchange Mall in Tangerang, the Jurang Mangu main station tunnel was recently furnished with an LED display over the tunnel entrance. The developers, JRP, decided that this zone would be enhanced with the addition of an AV display. Commuters and shoppers entering the mall from the station are now greeted by regular advertisement content and information. Kairos Multi Jaya was commissioned to install a small but effective speaker system for outputting the audio from the video playback.

Manufactured in Indonesia, two Silvercrest CS PRO 100 loudspeakers provide audio for visual synchronicity. The two-way 8-inch

point source enclosures operate within a 55Hz–20kHz frequency range. Equipped with a 90° x 60° rotatable horn mounted to a 1.3-inch high-frequency driver, the speaker provides the integrator with vertical or horizontal mounting options. Weighing 8kg, the IP55 passive cabinet is powered by a single Powersoft Mezzo 602A amplifier. Equipped with ¼-inch, RCA, 3.5mm stereo and line-level XLR connections, a Radial ProAV1 passive multimedia direct box has been added to route the audio source from the video source player to the loudspeaker system.

www.kairosmultijaya.com

Nestled in the heart of Madhya Pradesh, Gwalior Fort’s Sound and Light Show has incorporated a fibre optic extension solution from Lightware Visual Engineering for its immersive 360 projection installation. Gurugrambased production company Tricolor India Schauspiel facilitated the upgrade, which is part of a revitalisation project led by the Ministry of Tourism of Madhya Pradesh. Tricolor first pitched the concept, script and technology for the project in 2019 which has maintained for five years of uninterrupted outdoor performance. Located at the Man Mandir Palace of the fort, the projection narrates the story of the centuries-old bastion with synchronised visuals and laser lights which wash the 800m-wide walls of the imposing palace. Voiced by megastar Amitabh Bachchan, the narration is synched with the imagery of the show, which is directed by Himanshu Sabharwal, to fully immerse

history.

The AV signal transport solution for the spectacle was recently upgraded to centre around Lightware’s technology.

The manufacturer’s matrices and fibre optic extension and cabling solution have been implemented to enable the transport of 4K@60Hz 4:4:4 video and support synchronisation across the expansive canvas of the palace.

The Lightware solution comprises 10 sets of DVI fibre optical DVI-OPT-TX110 and DVI-OPT-RX110 extension transmitters and receivers, which provide signal delivery up to 2,500m, as well as one MX2-8x8HDMI20-CA HDMI 2.0 compatible matrix switcher. Furthermore, 12 CAB-HDMI20PHS100F HDMI 2.0b flexi cables as well as two CAB-HDMI20-AOC5000H hybrid optical active cables have been incorporated to transport 4096x2160@60Hz at RGB 4:4:4 video resolution.

“Lightware supports no lagging; it is robust and reliable and it withstands heat and dust,” noted Himanshu Sabharwal, creative director of Tricolor. “The budget of the project allowed no redundancy, thus we had to deploy something truly reliable. After working with Lightware for three or four

years, we have built up confidence in this brand. Running laser, light, video and Dante audio, we needed a stable solution free from any latency, glitches or hiccups. That is why we have chosen Lightware.”

www.lightware.com

the audience in the annals of Gwalior Fort’s

INDIA

INDONESIA

The Silvercrest loudspeakers are wall-mounted beneath the LED display over the tunnel entrance

Gwalior Fort’s Sound and Light Show features an immersive 360 projection installation

IICC puts MICE

LOCATED IN NEW DELHI’S DWARKA DISTRICT 10KM

from the international airport, the Indian International Convention Centre (IICC) is part of a government-driven smart city initiative. Known colloquially as Yashobhoomi – meaning Land of Fame in Hindi – the IICC provides India with 2 of much-needed convention space including exhibition halls, meeting rooms and a 6,000-capacity auditorium. Spanning an incredible 1,000,000m2, Yashobhoomi was inaugurated in September 2023 by Prime Minister Narendra Modi, who had also laid the foundation stone five years earlier. Construction had begun the day after this in September 2018 and was expected to be completed in four years, with a target of hosting the 2023 G20 Summit. However, due to the inevitable pandemicrelated slowdown, work was delayed and the building was finally completed a year later than planned.

Systems integrator Pyramid Technologies was brought into the project in 2019 as the master AV systems integrator, responsible for the AV technology throughout the entire building, as well as a 360° LED media façade running around the top. Appointed by turnkey contractor L&T Construction, Pyramid was presented with comprehensive guidelines for the phased delivery of the AV technology, adhering to strict technical documentation including third-party factory acceptance from the manufacturer’s facility for each system. The Delhi-based SI, which has 20 years’ experience under its belt, was entrusted with the whole spectrum of project management, with works being carried out in tandem across the different floors of the project and the façade.

“Our work was meant to be completed by 2021, but we lost 16–18 months due to Covid, when the project just basically froze,” explains Pyramid director, Ajay Parwaney. “There was a little bit of engineering going in the background, but we faced a lot of supply chain issues.”

The façade, which Parwaney describes as the “crown of the building”, is an 8,800m2 bank of LED screens installed at a 45° angle and wrapped around the entire top of the building. Due to the complex nature of the façade, L&T appointed a special team to handle the complex mechanical engineering and electrical calculations needed for the steel structures, working closely with Pyramid during integration. “We’ve used a transparent mesh supplied by Christie; it’s a completely custom solution,” he continues, explaining that companies can simply turn up and plug in their devices to display content.

To enhance both the aesthetic appeal and functionality of the media façade, the team designed multiple strips of varying sizes to wrap around the corners. This approach maintained edge tolerance, ensuring a seamless 360° viewing experience. Multiple Christie Pandoras Box media servers and players are used in main and standby mode to run complex, live event, multi-display content to deliver visual experiences as visitors arrive, as well as providing redunduncy at every level.

Inside the building, Yashobhoomi can currently offer 60,000m2 of exhibition space which is projected to triple after the completion of phase two. The two largest halls, measuring 27,060m2 and 23,880m2, can each be divided into four separate spaces. There is also a 6,000-seat divisible auditorium, a 2,400-seat, 3,400m2 grand ballroom and 13 conference rooms ranging in capacity from 900 right down to 10, the larger of which can also be divisible in two or three spaces or combined.

The 6,000-capacity auditorium with 11 configurable stage locations and modular motorised seating arrangements can provide interpretation in up to 24 languages for all participants. Unsurprisingly, this was one of the biggest-ever orders received by Williams AV, whose Indian distributor, Visionhire, provided almost 6,000 wireless receivers and transmitters from the company’s Digi-Wave 400 Series for the interpretation system across the entire conference centre.

Pyramid refers to the media façade as the crown of the building

The IICC provides much-needed exhibition space

The larger conference rooms are subdivisible

Televic is another brand whose technology is prominent across the centre, with 51 Lingua ID interpreter desks having been installed together with 1,400 delegate units from the Confidea Series wireless tabletop systems, with processing and signal handling provided by Televic Plixus audio engines.

“We delivered the systems in the spring and summer of 2023, and we are covering 16 different spaces within the convention centre with interpretation equipment,” explains Williams AV’s vice president, international sales, Per Persson. “It’s one of the biggest projects we’ve done because there just aren’t that many spaces that are so huge. Even when we’ve worked on projects for thousands of participants, not everybody typically needs interpretation. But here, because they’re hosting a lot of multilingual events where they switch languages, almost all the participants are using interpretation equipment. In India alone, there are so many different languages before you even look at the international aspect.”

Williams AV Digi-Wave DLT 400 intercom tranceiver, DWD 401 converter boxes and DLR 400RCH receivers fulfilled the client’s brief for wireless technology. “This was a specific requirement in order to provide more flexibility when positioning the transmitter, and to provide a secure system,” Persson continues. “Our database system offers frequency-hopping and is encrypted so, if someone doesn’t have the necessary credentials, they can’t listen in, which is crucial for high levels of political discussion.”

This groundbreaking order ended up contributing to an upgrade of Williams AV’s interpretation equipment, increasing the number of languages supported from 14 to 24 to meet the project’s requirements. “Another thing this project sparked, which we have now introduced with our D Wave system, is channel naming,” he continues. “Previously, it was just channels 1, 2, 3, 4, 5, but now we can provide a name for the language, so instead you would have English, Hindi, Urdu and so on. We have a list of 103 ISO codes for languages, so we specifically decided to support all the scheduled

languages in India and all the most common languages in Europe and around the world. But now, you can also programme a custom language if it’s not among the 100 most common languages in the world.”

Much of the sound reinforcement requirements throughout the IICC were fulfilled by Music Tribe’s Indian distributor Alphatec, which supplied equipment including Tannoy and Turbosound speakers powered by Lab Gruppen amplifiers, Midas digital mixers, Klark Teknik DSP units and Audio-Technica wireless and wired microphones. The auditorium is installed with a combination of Tannoy VQ, VX and VSX Series loudspeakers powered by Lab Gruppen D Series amplifiers, with Midas HD96 digital mixers at FOH. Turbosound NuQ active portable speakers and AudioTechnica 3000 Series digital wireless microphones have also been integrated.

The grand ballroom, which can be either used as one combined area or divided into three spaces, features Tannoy QFlex digital steerable technology which can be called upon when precise acoustic focusing is required, while Tannoy VQ and VSX Series speakers can be used when the rooms are combined. The system is powered by Lab Gruppen D series amplifiers, Midas HD96 and M32 digital consoles take care of mixing and Audio-Technica 3000 Series digital wireless microphones and ES Series goosenecks are also supplied.

The smaller convention halls and meeting rooms and a prefunction area also rely on Tannoy QFlex digital steerable speakers for precise audio delivery, with Tannoy VSX subwoofers handling low frequencies where required, power provided by Lab Gruppen D Series amplifiers. In the venue’s exhibition halls, 12-inch Tannoy Dual Concentric CMS 1201DC ceiling speakers are positioned strategically for optimal coverage, also powered by Lab Gruppen D Series amps with Midas M32 mixers.

Pyramid has integrated digital signage from Scala with almost 140 endpoints throughout the building, as well as wayfinding kiosks

to help people navigate a path through the colossal facilty, while several video capture systems throughout the conference rooms can capture, store, utilise and broadcast video footage.

Full redundancy has been provided for all the built-in systems, including the operation control centre (OCC) and a data and backup data centre where all the back-end equipment is housed for the façade and the control systems. Dedicated control rooms are located in the respective rooms, all connected to the OCC using the building’s IP network and enabling central control and monitoring of the AV systems across the facility.

A number of interactive displays have been deployed across the building to highlight India’s achievements in fields such as space and agriculture, taking visitors on a journey as they move along the display. These include several media walls with a Magic Mirror application, giving users an immersive experience by reflecting them in the background of the media wall. Visitors can interact with a heritage wall showcasing India’s culture via a gesture-based user interface while, in the foyer, a 12m x 6m (WxH) augmented reality LED wall uses depth sensor cameras to track people’s movements, triggering dynamic presentations and reactions on the wall. Despite narrowly missing out on the G20 Summit last September, Yashobhoomi was in time to host the ninth G20 Parliamentary Speakers Summit in October, displaying its MICE credentials on the world stage. And, with 200 exhibitions promised by the government over the next two years, its international stature looks set to increase further.

www.alphatec.co.in www.christiedigital.com www.musictribe.com www.pyramidtech.net www.stewartfilmscreen.com www.televic.com www.williamsav.com

The 6,000-capacity auditorium can provide interpretation in up to 24 languages

The centre provides 13 conference rooms of different sizes

The grand ballroom can be used as one 3,400m2 space or partitioned

The prefunction space is installed with Tannoy QFlex digital steerable speakers

A good lesson

For 90 years, the TOA Corporation has applied the relevant electroacoustic technology to a range of vertical markets. Richard Lawn learns about its latest foray into Malaysia’s educational sector

CONSTRUCTED ON A 50-ACRE SITE ON THE OUTSKIRTS of Seremban, central Malaysia, Soka International School Malaysia (SISM) has welcomed its first student admissions.

Comprising an administration and two academic blocks together with a boarding house, SISM embodies the values of Daisaku Ikeda, president, peacebuilder and philosopher at the Soka Gakkai International (SGI) global Buddhist organisation. TOA Malaysia’s project sales team was commissioned to design and supply an audio system for the 21st-century educational complex, maintaining a Japanese theme.

Installed by systems integrator System Communications Engineering (Syscom), a VX-3000 Series IP network-based, decentralised concept lies at the heart of the SISM design. Operating over the school’s LAN infrastructure, the VX-3000 system manager handles all the paging and voice evacuation requirements.

Individual VX-3004F and VX-3008F frames control the voice evacuation announcements. Dedicated to its own zone, each 3U matrix frame incorporates up to four 300W or 500W Class-D hot-swappable amplifier modules. In the event of power supply failure, VX-3150DS power supply managers automatically switch to auxiliary battery power from a connected charger at the rear of the rack for a minimum of three hours’ operation.

The RM-200SF fireman’s microphone or the pre-recorded emergency broadcast override the pre-recorded announcements. The VX-3000 matrix assigns audio feeds from a CD-2011R player in addition to several RM-300X paging stations with RM-210F extensions located in the main reception, principal’s rooms, swimming pool area and guardhouse. The combination enables daily paging announcements for the early morning fitness regime, a mid-morning recess and end of classes to all the designated zones. Built-in or individually recorded chimes are set before and after paging, with different tones for normal and emergency broadcasts. The announcements are stored in an EV-700 digital announcer and triggered by a TT-208 programme timer. The input and output channels provide DSP settings, including functions for enabling acoustic adjustments where required. Intelligibility

is enhanced with a feedback suppressor and an active noise cancellation function enabling ambient noise control. Indicators showing statuses including faults and power amplifier signals are included, which are also remotely managed from a PC in Block B in addition to TOA Malaysia’s service team in Petaling Jaya.

A discreet but higher power 100V solution was desired for audio output, with TOA CS-760W music horns installed where full-range audio is required. An extensive ceiling speaker solution has been installed, predominantly formed of F-2352C wide dispersion and PC-648R 5-inch models. Combining power with intelligibility in challenging acoustic areas, the speaker frames feature a spring clamp mechanism for mounting to the ceiling and input impedance that can be switched by changing the tap position on the transformer.

Weatherised CS-64 and SC-630M paging horn speakers have been wall-mounted in the service rooms, sports fields, bus stops and car park. Owing to the lengthy analogue cable runs to amplifiers in the main blocks, Dante Avio adapters have been inserted at both ends. Operating over PoE, the adapters provide a connection to a portable audio system for sports days and other events via microphone outputs in these outdoor zones, comprising wireless WS-5222 head worn and WS-5325 handheld microphone connections, a Behringer mixer and a CD-201R.

Nine of the 30 classrooms can be combined or divided. Teachers use head worn IR-300 microphones to transmit lessons via IR signal to an IR-510 receiver and tuner and then to the digital audio matrix. Content can be streamed via Cat5 cabling from the ZM-9014 wall panels to the same matrix for outputting to the DA250-F amplifiers and F-2852C ceiling speaker system.

The audio design required a more detailed focus in the main administrative block, which is home to a library, ICT (information and communication technology) lab, drama studio, music studio and boardroom. Here, a portable plug-and-play IP conferencing system allows 14 delegates and a chairman to host remote Teams and Zoom discussions. The TS-D1000 digital conferencing system is connected to an Hikvision DS-2DE4255 25x optical zoom PTZ camera via the open network ONVIF software. The audio

consists of a DA250-F amplifier, a Behringer XR16 console that can be remotely operated via iPad control and white TOA F-1300 speaker enclosures.

The multipurpose or sports hall is a 28m-wide venue to which seats can be added for speeches, events and assemblies.

Following EASE Focus modelling and simulations, an L-C-R speaker system was selected, the left and right arrays each comprising six SR-C8S line array cabinets and four FB152 15-inch subwoofers, with a centre cluster of three SR-C8S speakers. The system is powered by 10 DA-1000F four-channel amplifiers and controlled by DP-SP3 digital speaker processors. A Midas M32 32-channel digital mixing console and Behringer S32 stagebox are located in the rear control room. Three TOA HS-1200BT passive speakers powered by a DA-1000F amplifier provide stage monitoring. The digital signal path features Yamaha SWR2311P switches. A full-length LED screen occupies the rear back wall. “This required a sensitive audio design to ensure there were no obstructions to the visuals,” explains TOA Malaysia technical sales engineer, Izzul Ikhwan Bin Aziz.

In the same block is a 300-seat auditorium with an L-R speaker system comprising dual HX-7B compact line array modules and FB152 dual 15-inch subwoofers in each array. Powered by three DA-1000F amplifiers and controlled by a DP-K1 processor, microphone inputs include six D5000 Series wireless head worn and handheld transmitters in addition to six microphone inputs onstage. These are routed to a Behringer S16 stagebox connected to a Midas console for mixing in the rear control room. The auditorium is also equipped with three TOA HS-1200BT passive speakers powered by a single DA-1000F amplifier.

“The clarity, depth and richness of the audio delivered by the TOA system is truly remarkable,” comments Soka International School president Michael Kok. “It’s evident that careful, detailed consideration was given to every aspect of the installation, from the selection of components to the precise calibration.”

www.sism.edu.my www.toamys.com.my

The multipurpose hall at Soka is used for school events and assemblies

High on life

Richard Lawn ascends 290m to a Singaporean venue with views of the island state to silence patrons – until the heady mix of music, art and cuisine takes over

SPANNING MORE THAN 1,000M2 ACROSS LEVELS 61 and 62 of One Raffles Place, HighHouse serves a sophisticated food and cocktail menu accompanied by a roster of live music and DJ performances. Level 62 opens into a grand space marked by a double-storey bar facing an immense digital screen, displaying immersive artwork to complement the music selection of the night. Plush booths and dining tables line the floor-to-ceiling windows offering views of Marina Bay and the Padang. More intimate areas include a private meeting room and an entertainment space. Complementing the interior are paintings, sculptures and digital artworks by emerging and established artists.

Conceptualised in 2021 by owner OUE Limited, a high-impact BGM system featured high on the HighHouse agenda. OUE Limited’s activities include the development, investment and management of real-estate assets across the commercial, hospitality, retail, residential and healthcare sectors. “AV is a key element as it drives the evening into the night,” explains Wayne Lee, general manager of OUE Restaurants, the food and lifestyle division of OUE Limited. “Our COO, Andrew Ing, is a detailed and highly experienced F&B operator. As our driving force, Andrew emphasised the requirement for the AV technology to blend into the room cohesively.”

As evenings progress from sunset drinks to a dinner service inspired by the Pacific Coast, HighHouse transitions into a nighttime destination with DJs providing a high energy vibe. Integrating the AV technology was a crucial factor from the start of the project’s development. OUE stipulated that the BGM levels would gradually build up until 10pm, when the entire space would be transformed into one high-energy lounge. “I wanted to bring the systems integrator in from the beginning,” continues Lee, who ultimately assumed a project management role in which the consultants, main contractor and subcontractors all reported to him. An email sent to Electronics & Engineering (E&E) in February 2022 set the ball rolling.

With audio placed on an equal pedestal alongside fine dining, beverages and tasteful interior décor, E&E was subsequently commissioned to design, supply and install the AV and lighting technologies for the lavish new property. The high investment involved in redeveloping commercial venues invariably leads to frenzied deadlines so revenue generation can begin. “Owing to the scale and complexity, this project took longer than others,” adds Lee. “We were allowed more time to renovate and completely fulfil the design brief.”

As a result of being invited into the project design at such an early stage, E&E could focus on planning and laying a futureproofed cabling infrastructure. With the AV and lighting designs approved, E&E project manager Chen Shiuh Yang entered the bare space in April 2023. “My first impression was that there was just one small service elevator leading down to the ground floor, so I was apprehensive as to how we would transport raw materials and equipment up and waste down,” he says. “It proved to be a delicate challenge throughout, but we planned the logistics very carefully and ultimately endured no problems. We resisted transporting the equipment to site until the place was clean.”

A Dante network provides audio management while HDMI and NDI are the main video transport protocols, with digital artwork controlled from a PC. Netgear XSM managed switches interface the AV and video control domains. Simplified visual control presets for the resolution percentages can be activated from a Stream Deck panel that connects 19 IP addresses to the AMX NX-4200 AV control matrix. Having interwoven an extensive infrastructure of conduits to route the category network, loudspeaker and DMX cables over two levels, E&E had ample time to focus on blending the audio and visual technology into the décor.

Under E&E’s stewardship for over three decades, JBL has become a symbol of quality assurance in Singapore. As a Tottenham Hotspur FC (English Premier League football club)

supporter, Lee was also reassured by the JBL and Harman technologies following a demonstration by E&E. “I was very impressed with the powerful audio system when I visited the football stadium, so I knew we had the best sound system

Singapore,” he explains.

in

An Allen & Heath Qu-16 digital console at FOH in HighHouse

Digital artwork is displayed throughout the property

L–R: E&E’s Chen Shiuh Yang and Gary Goh with Oue Group’s Wayne Lee

be carried out audibly was designed by E&E’s CEO, Gary Goh, assisted in his role by audio programmer Arif Salim with Derrick Koh providing pre- and after-sales support. The scene is set on level 61, where sourced music is evenly dispersed throughout designated zones by a network of unobtrusive white JBL Control 18C/T coaxial ceiling speakers, Control 68HP pendants and 40CS/T ceiling subwoofers. Low-frequency extension is provided by JBL ASB 12-inch subwoofers.

Adjacent to the main space, a mix of decadence and intimacy awaits behind the doors of a private entertainment room, accommodating groups of 12–15 guests. Glass doors to a wine cellar and dry ageing room reveal an impressive stock of specially imported Spanish hams, aged steaks and fine wines. The culinary high notes are accompanied by renditions from the adjacent entertainment room, which is outfitted with a karaoke system of JBL Pasión 8F and 12SP powered speakers together with Shure BLX wireless handheld microphones.

by a BSS Blu-100 processor, level 62’s JBL Control 18C/T coaxial and Control 47C/T high ceiling speakers are augmented by ASB 12- and 18-inch subwoofers. In addition, JBL Control 68HP pendant speakers are suspended above the dining tables from the 5m-high ceiling. Tweaks to the interior design caught the E&E project manager off guard on several occasions. “After we had suspended the pendants, the contractor was asked to insert a false ornate ceiling here,” says Chen. “The Control 68HPs remained and the ceiling was built around them, so they resemble ceiling-mounted speakers rather than pendants.”

With an emphasis on nightlife, level 62 is a higher-SPL version of level 61. Located unobtrusively beside a large Unilumin Kslim 1.9mm pixel pitch LED above the technical DJ area, a pair of JBL CBT 1000 and CBT 1000E Extensions column speakers provide the higher volumes, with designated audio zones installed with a blend of JBL Control speakers.

Live bands, which benefit from the higher SPL capabilities, are mixed on an Allen & Heath Qu-16 worksurface. Monitored on JBL EON710 10-inch speakers, the house and guest DJs perform on two Pioneer CDJ-3000 multi players and a Pioneer DJM-A9 mixer, with a Tascam CD player used when external parties with other forms of media need to play their own content.

Zoned areas including the corridors and toilets have been created on the various levels which are capable of streaming the same or different programmes. With the addition of wireless control interfaces including 10.9-inch Apple iPad touchscreens, restaurant staff with user permissions can intuitively manage and configure the background music. However, given the staff’s high AV skills, an ease-of-use design criteria ranked lower on the design brief than powerful intelligible audio and high-impact visuals and lighting, and Chen dismisses the notion that the DJ and live performance technical area is simple to operate. “With the exception of the ambient lighting, the audio, lighting and video systems have no presets, so it’s not a one-button operation,” he states. “The key managers are well-versed in getting the system up, closing it down and changing the configuration for dining or for later in the evening. For a non-technical person, however, it’s very intimidating not knowing which button to switch on or off.”

For the visuals, 4K imagery is broadcast over HDMI connection from a customised content video player to the Unilumin LEDs and Samsung 55-inch displays. “We had to prioritise and conceive of how we could display the visual films with the digital artwork, which required a lot of technical discussions and coordination upfront,” explains Chen. “The budget was almost immaterial as we were made aware that the resolution was the overriding factor in specification. Mr Ing was very involved along the way, so we had to ensure that all the touch points were spot on. The 3x4K output for the main screen is the most advanced in terms of high resolution, ensuring that HighHouse stands out.”

Ultimately, the demo made the sale. “We attended several demos of screens with different pixel pitches before we opted on the 1.9mm pixel pitch Unilumin LEDs,” explains Lee. “We have invested heavily in digital art, so E&E’s proof of concept affirmed their appointment.”

As the sun sets and night descends, the SPLs increase and the lighting effects play a more prominent role. Dramatically transforming day into night, an Onyx NX2 lighting desk from Obsidian Control Systems manages 12 Martin Era 150 Wash and three Martin Era 300 Profile fixtures via an Onyx Netron EN12 Ethernet to DMX switch.

Those initial meetings with the construction contractor that allowed E&E to futureproof added designs as the works evolved turned out to be a blessing, according to Chen. “We were confident that we had not omitted anything by the time the equipment order had been placed,” he says. “Kudos to the management team, who ensured that everything was cohesive. We’ve worked with countless other managers in the hospitality sector, but this was one of the finest in terms of planning ahead and ensuring that there were no afterthoughts which could lead to works needing to be carried out retrospectively.”

www.enepl.com.sg

www.highhouse.sg

Pioneer DJ decks provide nightly entertainment

The LED wall in the 62nd-level restaurant can be transformed into digital art

The private dining room is furnished with a Samsung 4K LED screen and JBL speakers

Island life

Richard Lawn visits an Indonesian themepark which has upgraded its entertainment programme to attract the younger generation

SPANNING FOUR TIME ZONES AND COMPRISING OVER

17,000 islands, Indonesia is the world’s largest archipelagic state, the 14th-largest country by area and home to the fourthlargest population on earth. To appreciate the sheer size of the island group, the Taman Mini Indonesia Indah (TMII) cultural themepark in Jakarta offers a condensed snapshot.

Like the islands it represents, the 147ha attraction on the southeast edge of the city is on a grand scale. Inaugurated in 1975, TMII attempts to summarise the diverse cultures of Indonesia in traditional architectural pavilions. Each one displays a variety of clothing, dance and regional traditions. The original designers took advantage of the uneven elevation of the site around a drained lake to create rich landscapes depicting various types of living environments. In the centre, small artificial islands illuminated by colourful LEDs represent the Indonesian archipelago. Operated since July 2021 by state-owned Injourney, TMII has recently undergone infrastructure revitalisation works. “The park was closed to the public in May 2022, so it was a good opportunity to press a reset button and refresh, because no significant upgrade had taken place for almost 30 years,” explains TMII general director Arie Prasetyo, who has overseen the events of the past three years. “The diverse Indonesian folklore elements we display encompassing culture, cuisine, art, fashion and craft appeal to a wider audience. However, the younger generation was disconnected from the folklore stories. As a result, we conceived a digital interactive show that would attract both a younger and a larger audience.”

Produced, directed and conceived by PT Sembilan Matahari, the multimedia show is set to a storyline of traditional folklore tales. Visitors are transported nightly to a modern musical fountain show combining musical arrangements, lighting, dancing fountains and water projection screens, staged in a natural amphitheatre. AV and lighting distributor and turnkey supplier PT Albeta Sukses Mandiri and PT Endora Fountain were commissioned to design and install the show’s multimedia systems. Both worked closely with PT Sembilan Matahari, fulfilling the brief from conception to delivery within a tight two-month period.

Located to the south of mini-Borneo, the dancing fountains in the centre of Archipelago Lake serves as the centrepiece of this

multimedia show. Capable of shooting up to 40m, the water jets combine to create a twilight screen effect. Housed in two raised enclosures to the rear of the fountains, four Epson 20,000-lumen laser projectors output their mapped visuals onto the water jets for the 21-minute show. At weekends, greater audiences are drawn by the prospect of 300 choreographed drones adding another dimension to the spectacle.

“In the 1980s, an IMAX theatre outside the entrance to Taman Mini proved to be the big draw,” continues Prasetyo. “We were not sure what the next development would be in terms of an attraction for promoting culture and education before we consulted PT Sembilan Matahari. Once conceived, we were confident that the multimedia concept would endure, because it is a beautiful landscape. Ultimately, we are competing for visitor numbers. However, TMII differentiates itself from the coastal lowland to the north with its beach resort setting by positioning itself as a lifestyle and educational attraction. By making the admission ticket price 35,000 Rupiah (US$2) per person, we are making it affordable for everyone to enjoy the attraction.”

PT Albeta Sukses Mandiri has placed a Medialon Showmaster Pro show controller at the heart of the design, installed in a large

L–R: TMII’s Arie Prasetyo with PT Albeta Sukses’ Suyapto and Yosafat Tandyawasesa

Show control is provided by a Medialon Showmaster Pro

The multimedia shows are reinforced by pairs of Nexo PS15 speakers

subterranean airconditioned control room to the northeast of miniSulawesi. “We specified the Medialon controller as it is relatively simple to programme and use,” explains PT Albeta Sukses Mandiri general manager, Yosafat Tandyawasesa. Content from the show controller is routed to the audio, lighting and visual systems. The 2U controller featuring 16 digital inputs and 16 relay outputs hosts all the required multimedia show protocol interfaces. Balanced timecode inputs and outputs, together with video referencing, ensure that dimmers, lighting desks, video projectors, video servers and audio processors all synchronise smoothly. A drag-anddrop touchscreen interface provides ease-of-use operation. To install the intricate musical fountains, PT Endora Fountain needed to drain the water from the lake. Coinciding with these works, the project team from PT Albeta Sukses Mandiri opted to route the waterproof fibre optic and DMX512 cabling under

the lake. As a result, cable runs from four Epson EB-PU2220B projectors, 50 GP-600W IP65-rated moving heads at the far side of the lake and 160 LED lights in the fountain to the main control room have been minimised. The DMX512 cabling from the moving heads is grouped via three DMX splitters over the Art-Net distribution network to the ETC Mosaic console in the control room. M15 lenses have been fitted to each of the four Epson laser projectors to throw the required 80–110m distance to the water jets. For AV and control playback, two QLab media players serve each of the raised enclosures housing the twin projectors. Lightware HDMI 2.0-to-optical fibre converters are inserted into the visual signal chain to meet the high-definition imagery requirements.

Audio is networked via Dante from a D-Link DGS 1210 28P 24-port managed network switch to a Q-SYS Core 110f processor, which handles voice control, BGM and higher-SPL multimedia show music. Media drive, Dante 32x32 and 32-channel multitrack cards

DSP parameters including EQ, delays and reverb are adjusted, programmed and saved as presets for the outdoor environment. The control room programmers and operators can remotely configure and manage all the audio settings via the software over Dante.

A Nexo IP54-rated distributed loudspeaker system fulfils the multimedia’s high output audio criteria. “We also installed the loudspeaker housings in front of the lake that face towards the amphitheatre,” explains Tandyawasesa. The cabling from the Nexo PS10 and PS15 point source speakers are routed to the racked Nexo NXAMP4X4 and -4X2 amplifiers in the control room. In addition, dual sets of Nexo PS15 enclosures are mounted onto six hanging brackets surrounding the lake. These can be covered when not in use to minimise exposure to the elements.

PT Albeta Sukses Mandiri demonstrated skill in executing the challenging aspects of TMII’s multimedia show within a narrow timeframe. In addition to weather protection, lengthy cabling networks and new technologies, the team also had to install relay and fan controls, temperature and humidity sensors and dehumidifiers into the projection enclosures. Since the opening of the attraction, remote monitoring has vastly reduced site visits and callouts.

Keenly monitoring the digital show’s return on investment, Prasetyo confirms the positive impact it has had on visitor levels. “Our main captive audience for the multimedia show is the local population here in East Jakarta, where six million people live. Following the refurbishment, however, we have noted a leap to an average of 20,000 people per day coming from as far as East Java. At the outset, we aimed to reduce infrastructure pressures that peaked earlier in the day at the carparks and F&B outlets. From our ticketing information, we are recording more visitors entering TMII later in the day compared to 2021.”

A maximum return, then, on wise investment in a miniature world.

www.nexo-sa.com www.qsc.com www.tamanmini.com

GP-600W IP65-rated moving heads illuminate the show

The multimedia show depicts traditional folklore tales

Ticking all the boxes

Indonesia’s Kairos Multi Jaya has pulled off another five-star hotel AV installation on a three-star budget, reports Richard Lawn

CALCULATED RISK IS HIGH ON THE AGENDA FOR commercial property developers. Years before any groundbreaking ceremony can go ahead, hospitality investors have to conduct extensive research and gather statistics on a proposed site. A case in point is the new Doubletree by Hilton Tangerang, which opened earlier this year. Having started out as a proof of concept several years ago, its location is anything but chance. Located 20km southwest of Indonesian capital Jakarta, Tangerang has been dubbed the city of a thousand industries and a thousand services. Experiencing a 100% increase in domestic and foreign visitors between 2015 and 2017 alone,

the development of the country’s biggest convention and exhibition centre, the Indonesia Convention Exhibition (ICE) at BSD City, has certainly played a role in its growing popularity. PT Jaya Real Property (JRP) has augmented Tangerang’s transformation into a tourist destination with the construction of Bintaro Jaya Xchange Mall 2. Contained within the sustainable 25ha plot, the mixed-use project combines the giant Oceanarium educational aquarium with a shopping centre and the new Doubletree by Hilton. The hotel’s appeal is increased by the short journey time to and from Soekarno-Hatta International Airport, bypassing the need to travel through Jakarta.

Working closely with acoustic and AV consultant Sinergi, Kairos Multi Jaya was commissioned to design, supply and install the AV technology into the divisible ballroom, meeting rooms and event areas of the 185-room property. Brand manager Damaran Kristanto has worked on numerous hospitality projects for Kairos Multi Jaya over the past 10 years, bringing his value engineering approach to the new property. To win projects, Indonesian integrators are often challenged to deliver five-star credentials at a three-star price. But does that mean there’s a compromise in the design and build? According to Kristanto, no. “Based on our experience, we cannot adopt a cut-and-paste design, but we

The stylish yet minimal ballroom can be subdivided and provides a neutral backdrop for events

The Kairos team – L–R: Dwi Saputra, Arief Hakiki, Damaran Kristanto, Johannes Martin and Alimo Tanto

A Symetrix Prism 8x8 processor caters for all four meeting rooms

unobtrusive, it’s easy to install and they never fail,” says Kristanto – surely music to the ears of any property owner looking for a healthy ROI. Room flexibility has been maximised for the hotel’s meeting spaces as the ballroom can be extended to encompass four adjacent meeting rooms. When used in standalone mode or for combined meeting rooms, a Symetrix Prism 8x8 processor ensures that operators can quickly and easily set up any configuration at the touch of a preset once the acoustic partitions have been activated. The same Audio-Technica microphone and laptop inputs as those installed in the ballroom output the analogue audio signal to a Mackie ProFX10 console and RCF PL 8X ceiling speakers powered by Powersoft Mezzo 322 A amplifiers. In addition, two Dante signal feeds from the ballroom’s AV rack feed into the Prism 8x8 processor and a six-port switch hub connecting a Symetrix AV rack.

DRIVING EXTRAORDINARY PERFORMANCE

certainly draw upon the successful elements from some of these for implementation into a current project,” he explains, confirming that scaled-down elements from Kairos Multi Jaya’s 2022 AV fitout at the distinguished five-star St Regis in central Jakarta have been transferred to Tangerang. “The St Regis has a larger blueprint and commanded a bigger budget, but the AVoIP design remains more or less the same.”

The stylish yet minimally decorated 1,162m2 ballroom should prove to be a high revenue earner for JRP. The space facilitates rapid loadins and -outs, making it a safe option for planners of weddings, corporate events, product launches and other large gatherings. More importantly, as little downtime is required between events, bookings are maximised for the hotel, while a minimalist AV design provides a neutral backdrop for a designer with imagination.

All three sections of the ballroom incorporate an HDMI-over-IP transmission solution in which HDMI laptop transmissions are routed to Visionary E4100 encoders for output to wall box outputs via Cat6 cabling. From a TP Link TL-SG3452XP switch, the digital signal is sent to Visionary D4100 decoders before being switched back to HDMI for outputting to Idled Mars 4 LED displays via VDWall LVP615S processors in each ballroom. Synchronised, the audio signal is transferred to the Symetrix Prism 12x12 audio processors and Powersoft Ottocanali and Quattrocanali amplifier inputs.

For the audio itself, tried and trusted elements were paramount. Microphones including AT-One ATW-13DE3 wireless handheld, Pro31 dynamic handheld and UB57QL gooseneck models from Audio-Technica, together with laptop connections, are routed to individual portable Mackie Onyx16 consoles via Klotz MC2000 cables. A Symetrix Prism 12x12 processor performs all the DSP for the entire space. Cat6 cabling from Dante Avio connectors is channelled to Powersoft Ottocanali 4K4 DSP+Dante and Quattrocanali 2404 DSP amplifiers for output to Community D10 coaxial and D10SUB speaker systems in each ballroom via Klotz LY215 cabling. Symetrix T-5 touchscreens are used for system control.

The theme of simple, highly effective yet cost-effective technology is extended to the pre-function ballroom, where a Powersoft Mezzo 602 AD amplifier receives a Dante signal from a TP Link switch and outputs to a network of RCF PL 8X ceiling speakers. “The RCF PL 8X has been a staple for Kairos Multi Jaya over the years – the flush-mounted 8-inch design is

The HDMI/VGA-over-IP transmission combines a laptop HDMI connection with a portable Visionary E4100 encoder and is output via Cat6 to a floor box outlet and TP Link TL-SG3452XP network switch. Outputs include a Symetrix xControl logic port that remotely controls the projection system which, in each meeting room, comprises a motorised Epson EB-W50 projector lowered by a Somason BCL-A360 lifter with a Somason 100-inch screen in 16:9 resolution via Visionary D4100 decoders.

The boardroom and bridal room are both equipped with RCF PL 8X ceiling speakers powered by Powersoft Mezzo 324 AD and 322 AD amplifiers. There are Cat6 connections to the boardroom’s Poly TC8 touch control interface and Studio X50 video bar for conferencing, in addition to the floor box inputs and projectors in all four meeting rooms.

Maximising ROI is standard practice for a developer such as JRP, and this project has certainly prioritised a short lead time over high investment in state-of-the-art AV technology that is not being fully utilised. In addition to its economic advantages, the AVoIP network should also ensure ease of use, flexibility and futureproofing. “The hotel also demanded sustainability, but with the power-saving features that are inherent in these signal chains, it was not a difficult requirement to fulfil,” Kristanto concludes, ticking the final box for a project that delivers on all fronts.

www.kairosmultijaya.com

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The four meeting rooms each offer Epson EB-W50 projectors and Somason 100-inch screens

A BGM system of RCF PL 8X ceiling speakers was specified for the pre-function area

Playing the field

Singapore’s new Nike Orchard Road outlet is aiming to attract customers with an alluring blend of AV technology. Richard Lawn heads to the stores

THE CONSISTENT MIGRATION TO ONLINE SHOPPING has seen the retail property sector intensifying its efforts to attract footfall into stores, and the trend shows no signs of abating as leading retailers invest in unique, interactive and frictionless technologies. Interactive facilities, touchpoints, digital signage and prominent displays are becoming commonplace in on-trend shopping districts as stores incorporate cutting-edge AV technologies to enhance the customer experience.

Occupying a 2,650m2 site on Singapore’s Orchard Road, the visually alluring Nike store opened in January 2024, becoming the sports brand’s largest Asian outlet. To maximise its appeal, Nike Orchard Road has been installed with a network of large-format visual displays together with a Bose Professional loudspeaker system. Shoppers ascending and descending on escalators connecting the open plan atrium are captivated by a giant LED screen spanning all three levels, flashing up Nike promotions, popular Singapore running routes and other sports-related content. For over two decades, Singaporean systems integrator Sound Wurks has been designing and installing audio systems in restaurants, bars, cafés, offices, retail spaces and fitness studios. Project lead Case Woo responded to a request to provide an audio design and quote for Nike Orchard Road, quickly learning that looming deadlines for the phased work meant his team was entering a sprint rather than a marathon. The company lost no time in submitting an audio design during the final week of November 2023.

Following fast track approval, Sound Wurks found itself onsite with other subcontractors, tasked to complete one of its larger audio installations within a seemingly impossible timeframe. Reporting to general contractor Brands Bridge, Sound Wurks

would complete its entire design, supply and installation fulfilment within a condensed three-week period. Upon entering the regional flagship store and drawing on past experience, Woo placed his faith in a stylish, reliable, high-impact BGM system from Bose Professional.

“As a new retail build, all the cabling had to be installed and interconnected on all three levels,” recalls Woo. “The site was literally a concrete shell with no flooring, so we knew time was of the essence. As most of our team were working on other projects at the time, very delicate planning was required to ensure there were no staff shortages. Brackets and rods were designed and installed within a week, having been customised to different lengths at a metal shop we discovered. To witness the entire project come together like it did was amazing.”

Woo knew that he could rely on the backup of Bose Professional Singapore for such a high-profile tender. “In addition to providing excellent local support, reliability, warranties and speedy response times, Bose Professional always carries sufficient stock,” he testifies. “However, as this project was sizeable and we had a pressing deadline, some equipment needed to be airfreighted in. The DesignMax Series has established itself as one of my favourites and, as one the larger Bose Professional speakers, I knew it would be suitable for such a large space. I paired DesignMax DM8S enclosures, created for high-impact BGM and foreground music, with MB210 subwoofers. The DesignMax Series sounds perfect with little or no tuning required, and it can be installed straight out of the box.”

Specified to suit most commercial installations, the two-way DM8S features an 8-inch woofer and a centre-firing coaxial 1-inch compression driver. Operating within a 52Hz–20kHz frequency

range, the surface-mount cabinet saved valuable installation time courtesy of its integrated yet concealed QuickHold U-bracket. Extending the lower frequencies down to 37Hz, the MB210 isn’t a typical box subwoofer; owing to its flexible, flat-shaped design, the 19.4kg dual 10-inch model could be orientated horizontally on the ceilings of Nike Orchard Road.

Although all three floors are a similar shape and size, the ground floor with its atrium is the largest, and is served by six inwardfacing DM8S speakers. Outside the atrium, three peripheral L-C-R zones, each comprising four DM8S cabinets augmented by a single MB210 subwoofer, have been created on all three levels. To maintain an even low-frequency extension in the central zones, another MB210 subwoofer has been added. For the lower ceiling back of house corridors and storerooms, smaller DM3SE 3-inch ceiling speakers provide a gentler ambience, and a small event space incorporates the DM5SE model together with FreeSpace3 Acoustimass bass modules. Extending their aesthetic appeal, all the Bose components are finished in the same black and white finishes as the corresponding ceilings on each level.

Located in a back of house rack, a ControlSpace EX-1280 signal processor routes several inputs including a music source in the lobby to 11 PowerShare amplifiers. Comprising 12 mic/line analogue inputs, eight analogue outputs, a Bose Professional AmpLink output and 64x64 Dante connectivity, the EX-1280 is equipped for more general-purpose audio processing applications. “The entire system is connected via Dante to the racked amplifiers located on each level using network cables and power managed by Furman PL-Pro DM C E power conditioners,” explains Woo. “Although the schematic is simple, it is highly organised.”

Bose DesignMax DM8S enclosures with MB210 subwoofers provide high-impact BGM and foreground music

Orchard Road has become Nike’s largest Asian store

L–R: Sound Wurks’ business development manager Case Woo with Bose Professional’s SEA manager Hui Ming Tan

With onboard DSP, the four-channel PowerShare PSX4804D 4,800W smart amplifiers power all the DM8S and MB210 pairings. The integrated DSP provides instant access to optimised loudspeaker presets including volume levels, crossovers, EQ and other parameters via the ControlSpace Designer software. Simplifying the setup process with drag-and-drop programming, Woo acknowledges that the intuitive software minimised configuration time spent onsite.

Ease-of-use audio management is conducted from the interface of a rack-mounted ControlSpace CC-64 control centre. Serving as the endpoint in the ControlSpace ecosystem, four rotary encoders with the circular LED rings of the CC-64 can be used for managing gain settings or source selection for all the zones on all three levels. EX-8 Dante endpoints have been inserted into the signal chain to

Bose components have been supplied to match the corresponding ceilings

provide a Dante-controllable network connection over Cat6 cabling between the EX-1280 processor and the CC-64 control centres. Levels one and two are equipped with input connections offering the ability to select either main BGM or a bespoke selected input source. Higher SPL performances including DJ events can be hosted on level two.

With Nike Orchard Road now open for business, the race

set by Sound Wurks’ AV design, drawing on the powerful, unobtrusive and easy to use DesignMax, PowerShare and ControlSpace components which continue to meet the increasing demands of retailers.

www.boseprofessional.com www.nike.com/sg

Nike Orchard Road integrates a network of large-format visual displays

A letter from America

Dan Daley explores the possibility of getting ahead of AI before it gets ahead

ONE CAN HAVE TOO MUCH OF A GOOD THING. LAST year, nearly 50 million new music tracks were added to streaming services such as Spotify, based on an estimated 120,000 new track uploads per day in 2023. That’s up from over 93,000 new tracks daily the year before. And that’s just the songs; the number of people making them is also rising sharply. BandLab, the Singapore-based social music creation platform, said earlier this year that its app had surpassed 100 million registered users, which means that it has added 40 million users since January 2023, up from 60 million registered users then.

What are all these songs and who are all these people? It’s a trick question, because much of this content isn’t “songs” at all but rather noise, ASMR tracks and other quasi-musical detritus attributed to nonexistent artists. This state of affairs isn’t all that new; people have been gaming the digital music distribution system for decades now – a Swedish newspaper discovered a local indie label, Firefly Entertainment, had over 800 “fake artists” on its roster, and a single Swedish musician had invented over 650 “artists” of his own who, collectively, generated over 15 billion streams. Another practitioner of this digital shell game, Johan Röhr, now has a stream count that exceeds that of Michael Jackson and Mariah Carey. Perhaps it’s only fitting that the country that gave us Spotify should also

bestow upon us the most diabolical grifts of the service. But if the so-called democratisation of music production brought about by the digitisation of its tools has led to this huge con game, the injection of artificial intelligence into the mix is only going to accelerate it to truly insane levels. AI fakes of “music” by two of the world’s biggest artists, Drake and the Weeknd, last year created hits for artists who weren’t even aware they were being digitally hijacked.

When the global music industry was last confronted with a digital disruption, by Napster at the turn of the last century, it reacted with panic and litigation, both of which failed miserably and delayed the industry’s inevitable transition to the next paradigm, at great cost to all parties involved. This time might be different. The US federal and individual state governments have proposed and – in some cases – enacted legislation to deal with the challenge of AI to music. For instance, Tennessee – whose capital city Nashville is the locus of much of the country’s and the world’s music production – became the first US state with a law protecting musicians from generative AI’s potential artistic and financial ravages in March. The aptly (or ironically) named ELVIS Act – Ensuring Likeness Voice and Image Security –makes it illegal in the state to replicate a creator’s voice without his or her consent, and creators will be able to sue for damages if their voice is replicated without authorisation.

A letter from Europe

of us

Some artists aren’t waiting. Lo-fi dance track maker Grimes last year put an offer on the digital table that would let anyone use an AI iteration of her voice for a 50% split of any ensuing royalties. Paul McCartney last year used AI to extract the late John Lennon’s vocal and piano from an old demo tape to create one last Beatles record. One online poll indicates that 60% of musicians are already using AI to make music in some capacity, whether for mastering, generating artwork or composition. Many artists are quick to point out that AI, while very useful for applications ranging from inspiration to quotidian production tasks like cutting and pasting, will never replace the emotive qualities necessary to make music. But that’s what a human would say, isn’t it?

Getting out ahead of AI’s potential for damage shows that some lessons from the Napster era were indeed learned, if imperfectly. AI could take the artistry of music to a new level by automating the drearier aspects of making a living doing it. It could also supercharge the grift, making Johan Röhr’s dubious accomplishments look more like a weekend hobby. Of all the possibilities that generative AI presents, perhaps its impact on music might seem marginal to the future of the species. But if, as Ludwig von Beethoven once said, “Music can change the world” then it’s worth keeping an eye on it as the canary in this US$17 billion coal mine.

Phil Ward wonders if the new AV systems being installed at football stadiums across Europe are outperforming the game itself

MY FAVOURITE SOCCER QUOTATION – APART FROM Eric Cantona’s unassailable reflection: “my only regret is that I didn’t kick him harder” – concerns the quasi-religious following that the sport commands, especially in Europe. “Some people believe football is a matter of life and death,” said pioneering Liverpool FC manager Bill Shankly. “I am very disappointed with that attitude. I can assure you it is much, much more important than that.”

As the Las Vegas Sphere struggles to find its true identity –UFC mixed martial arts to “trump” the U2 concerts? I don’t think so – European soccer stadiums are enjoying a real renaissance, AV included, and one that reveals the economic confirmation of Shankly’s spiritual prescience. According to Deloitte, the European football market grew 7% to €29.5 billion over the 2021/22 season and much of this turnover is being recycled into new facilities for the spoilt-rotten football fan. The latest flagship stadium in the UK is the home of Tottenham Hotspur, a Harman showcase of JBL, Crown, Soundcraft and Q-SYS facilitated by SSE Audio Group – just the package to help the club challenge for major honours. But even Everton, on Merseyside, is getting a brand-new stadium

that will be dominated by Nexo loudspeakers – just the package to help the club avoid relegation.

These venues are the ideal breeding ground for today’s evolving IP media infrastructure, and the story continues right across Europe. This is partly because they are required to simultaneously engage the large crowds present and to feed the media frenzy that surrounds them, and partly because the acoustic challenges are monstrous. Huge LED screens work better the further you are from them. For loudspeakers it’s the opposite.

Based in Madrid, Telefónica is described as a “technology partner and systems integrator for major turnkey audiovisual engineering projects for the broadcast, media and sports venue industries”. Estadio Santiago Bernabéu is the home of Real Madrid, and so proud is Telefónica of its upgrade there that it took part in a full presentation on the Lawo booth at ISE. That tells you the consoles, but the secret sauce is the IP-based production environment for everything from broadcast and streaming to in-stadium entertainment. Having been the first football club in Europe to use the Cisco Connected Stadium WiFi solution to create “the interactive

stadium” some 25 years ago, the boundary-pushing continues.

In Linz, Austria, Linzer Athletik-Sport-Klub (LASK) has a new UEFA Category 4 venue, not least thanks to over 80 Genelec Smart IP loudspeakers. Apart from the IP control, what matters here is the speakers being active, so saving on rack space and cabling. The system is controlled by an Allen & Heath AHM-64 matrix with a Dante V2 card and Allen & Heath System Manager software. The thing is, this is for the fan zone, not the bowl. With a business club, restaurant, bakery and DJ rigs, some might prefer this to watching the match. In Florence, Italy, ACF Fiorentina trickles the AV luxury even further down the food chain: the new K-array Vyper speakers and Rumble subs, integrated everywhere through a QSC audio control system, is not for the main stadium at all. It’s for the training ground.

According to the club, “even the bars boast bespoke audio systems” which would have suited the player who proved that the game really is a matter of life and death. “I spent 90% of my money on women and drink,” said George Best. “The rest I wasted.”

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KOBA 2024

Following a ceremonial opening by the Korea Broadcasting Engineers and Technicians Association (KOBETA) and show organiser Korea E&EX, a varied crowd of students and professionals was drawn to the Seoul COEX to get hands-on with the latest audiovisual and lighting technologies

TECHNICIANS AND ENGINEERS WERE KEEN TO BE updated on the latest technologies that the show floor could offer in addition to attending the numerous demonstrations, technical seminars and workshops. Despite the lure of Guangzhou Prolight + Sound and Dubai’s CABSAT that were being staged at the same time, a significant number of international brand representatives had also made the journey to support their distributors.

Sticking to its traditional format of three (A, C and D) halls of the COEX, with the upper third-level halls presenting broadcast and video equipment, the professional audio and lighting ground floor (A) had reduced in size. Some of last year’s exhibitors including Sound Hub and Kinoton Korea had migrated upstairs, but prominent distributors such as Klausys, Seki and Tech Data were absent, meaning that brands such as L-Acoustics, Audio-Technica and JBL were not on display.

Alpha Lite, Max Lighting, Robe and Tongsuh Technology exhibited, but lighting technologies were scarce. However, it was the large gaps once occupied by Korean brands including DK Vascom, DLogixs, Kevic and Inter M that were most telling. A KOBA live stage and a Yamaha performance area filled some of

the gaps. However, last year’s absentee Samasound returned by showcasing exhibits of largely new products. Having assumed sole distribution for Dynacord and Electro-Voice earlier in the year, a range of portable speakers including Everse, Evolve and ZLX were out on display.

Mixing consoles were in abundance. Yamaha promoted its latest DM3 and DM7 digital mixers, although the keyboards and musical instruments took centre stage. Avid boards, including the S6L and ProTools Dock, were evident on the Koil Corporation and Music Metro stands. In addition to products from AEQ, ARX and Lectrosonics, Ingang Audio highlighted the latest Calrec Argo, Artemis and Brio broadcast control surfaces. Stagetec control surfaces were prominent on the Sound Hub booth, Evertz highlighted the Studer Vista Bravo console and Dongyang Digital exhibited a range of Lawo audio and video solutions.

Having appointed Koil Corporation as its Korean distributor in 2023, Wheatstone showcased its LXE control platform and Arcus Remote Strata 32 console. This year, the prominent

distributor revealed a new addition to its portfolio with LD Systems. Kinoton Korea revealed a split personality with Analog Way’s video processing comprising Aquilon, Live Premier, Midra 4K and Picturall platforms on one side. The other was distinctly Danish, with Blaze’s amplifier and control products including the PowerZone Connect series.

Soundus rolled out the latest DiGiCo Quantum 338 live consoles at its very own front of house location. This was complemented by an inner Coda Audio demonstration booth featuring the immersive Space concept. Rounding off the Soundus offerings were a focused selection of Aviom in-ear monitors, MC2 amplifiers and Milab microphones.

Sound Solution grouped Midas consoles including the Heritage D HD-64 alongside Lab.gruppen amplifiers and Klark Teknik outboard. Additionally, a wide portfolio of RCF loudspeakers including the latest NX and HDL speakers were showcased, and ART enclosures were demonstrated in an immersive setup with an

systems were also represented.

Like Avid, Sennheiser splits distribution throughout South Korea according to market segment. This year, Play 100 and Brown & Company co-exhibited as designer outfitters with Sennheiser jackets and Lego figurines vying for attention among Team Connect microphones and Sound Devices recorders. In contrast, Music Value demonstrated its keyboards and effects on a booth design comprising largely of crates. Mipro Korea highlighted 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 microphone systems.

On the Ingang Audio booth, Meyer Sound’s Panther line array loudspeaker with the 900-LFC low-frequency companion and Ultra X-40 multipurpose cabinet were showcased and Spacemap Go was explained. Headed by a prominent display of Riedel Bolero intercom and video processing solutions including SimplyLive, the Dasan SR lineup of brands included dBTechnologies, Earthworks (microphones), Montarbo, NST Audio (processing) and Sonance (pendant speakers). Its core EAW and Powersoft heavyweights included the Unica next-gen cloud-based amplifier platform.  Most exhibitors on level three reported lower crowds than 2023. Resembling a condensed IBC or NAB show layout, the video broadcasting halls welcomed back regulars including Blackmagic Design, Canon, Fujinon, KBS, Ikegami, Nikon, Panasonic and Sony. Here, visitors were drawn to test-drive cameras trained on female subjects, who continue to pose for long durations on studio sets. No doubt, women in the AV community the world over will not be impressed with the dated marketing ploys that persist in this part of northeast Asia.

Well-organised and vibrant, KOBA’s national appeal is evident as it refuses to limit itself to the confines of broadcast.

2024 Dates: 21 – 24 May

2025 Dates: 20 – 23 May

Venue: COEX Convention and Exhibition Centre, Seoul

Total exhibitors: 232

Attendance: 41,043

Contact: www.kobashow.com

The Yamaha stage proved that there is more to KOBA than broadcast

From the show floor

Jimmy Yap, Lectrosonics:

“Nestled alongside the Calrec and Meyer Sound brands, it is easy for visitors to overlook our tiny Lectrosonics transmitters and receivers. I am overcoming our small footprint by explaining the power behind the M2 IEM system, which operates within a full frequency range when paired with the DSQD digital transmitter. Here at KOBA, we are demonstrating to professional musicians and rental production companies in addition to Korean charismatic churches seeking a professional setup with high sonic qualities. Generally, church productions are getting louder, so using our IEMs can help them reduce the levels. Our distributor Ingang Audio draws the right range of customers to the booth. KOBA is really a misnomer for broadcasting as its appeal stretches beyond.”

“Play100 is one of several dealers distributing both Sound Devices and Sennheiser in South Korea. We opted to coexhibit with Brown & Company with a The King’s Man retail outlet appearance includes tailor dummies with Sennheiser jackets and Lego figurines. In between the retail décor, we are demonstrating Sennheiser wireless and Team Connect technologies together with various headphones and microphones on the displays. By teaming up with Brown & Company, we have combined our resources, costs, expertise and

“Last year, our booth was downstairs in the more traditional pro audio hall, but we decided to relocate to level three in the main video broadcasting section. We are showcasing products from DPA, Stagetec, Studio Bricks and Wisycom. DPA is an established brand among musicians and houses of worship, but we are now promoting it to the broadcasting sector. Wisycom is gaining momentum among production companies, location recordists and broadcasters. Stagetec is highly respected among top broadcasters including KBS and SBS as they appreciate the flexibility and futureproofing of audio-over-IP networking. By explaining the power of the Nexus router, we are continuing the discussion by demonstrating the Aurus and Avatus control surfaces.”

“I flew to KOBA from my base in Melbourne to support the Avid live sound partner Koil Corporation. The attendances have varied over the four days but, overall, I’ve met many engineers operating in production companies and houses of worship. Owners of legacy hardware are eager to see what new technology they can upgrade to and rental companies are looking at adding S6Ls to their inventories to be considered for international riders. Going forward, live immersive performances remain beyond the budgets of many venues because they require a lot more speakers. However, we are promoting a proof of concept for immersive mixing for the S6L in theatrical venues with our Revolution software

year’s KOBA. We’re attempting to appeal to venues such quality and a clean aesthetic interior design are required. Many of our existing customers are initially drawn to the become intrigued to learn more about the Space by Coda exhibit. We are also promoting the K-Gear loudspeaker range including Rails, which is a more costeffective range within the K-array portfolio. The audience at KOBA is decreasing, but we are happy

ago, Dasan SR has dedicated a large display for Bolero communications and video technology solutions including

dBTechnologies, Earthworks, EAW, Montarbo, Powersoft and Yamaha. Despite the attendance appearing lighter over the four days this year, KOBA is always an interesting show for us as it allows us to reconnect

and Dolby Atmos. Although we exhibit at KOBA every until several months afterwards. One of the benefits of KOBA for Metro Music is that we meet new technicians from churches each year. Post-Covid, we have witnessed many changes, so we need to stay in contact with the current engineers and

Daniel drives and supports your understands sales, distribution and shapes your solutions.

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Prolight + GuangzhouSound 2024

Despite May’s congested events calendar, Prolight + Sound Guangzhou (PLSG) exceeded expectations, breaking all previous records

THE SPRAWLING CHINA IMPORT AND EXPORT FAIR

Complex played host once again to the PLSG show, now in its 22nd year and firmly entrenched in the late May timeslot. But crucially this year, the much longer break after GET – Guangzhou’s other pro audio lighting show, which took place in March – appears to have paid dividends. The footprint this year ran to its biggest ever at an incredible 200,000m2 spread across 21 thematic halls with pro audio, communication and conferencing, multimedia systems and KTV technologies located in Area A, while over in Area B, there were seven lighting halls to be explored. And despite a number of other Asian and ME shows taking place over the fortnight, it was notable to see that in the pro audio halls, a number of manufacturers’ representatives had clocked up the airmiles and made the effort to attend and support their distributors, lending a much more international feel to the place. However, the extensive show floor now makes up just a part of the four-day event and the organisers have worked hard to incorporate a raft of additional programmes and events. The Recording & Production Zone aimed to

From the show floor

connect professional and high-end consumer audiences, while Audiovisual+ showcased AV equipment across a wide range of vertical markets. Under the Tech Meets Culture banner, visitors could experience the PLS Unicorn series which provided an exhibition of lighting and audio capabilities, demonstrating how technologies, stage machinery and digital media can transform spaces into immersive entertainment venues and enhance cultural experiences.

Designers and installers also had an opportunity to experience the latest interactive display software and hardware, multimedia solutions and digital content creation at a specialised showcase entitled Visual X. This explored the possibilities of digital visual technology and intelligent displays across diverse sectors such as culture, tourism, education, visual arts and new media. Outdoors, once the rain had finally stopped, visitors could listen to regular line array demos from 36 different brands across three dedicated stages.

Education has long been a focus for PLSG and this year the offering was stronger than ever, with the organisers working closely with representatives from NDI, Dante AV, IPMX and

Judy Cheung, Messe Frankfurt (HK):

“As the world’s largest professional lighting and audio trade fair, PLSG 24 reached new heights in both scale and visitor growth, reflecting its expanding strength and reputation. This edition not only kept pace with the latest industry trends and innovations, but also explored emerging application fields in audio, video and new cultural tourism sectors. This enables participants to stay ahead by gaining insights into cuttingedge technologies and future development trends.”

Simon Godfrey, AtlasIED:

“We’re exhibiting with our Chinese partner Litron, and they’ve done a spectacular job. We’ve had a range of product on display including our Atmosphere product line and the new Aimline series. The show has been amazing; the footfall today is a little bit quieter being the weekend but, overall, it’s been really good. We’ve had a lot of visitors from the Middle East and the African nations too, so being present here is vital as I’m responsible for

SDVoE to deliver a wide-ranging seminar and training programme. Attendees could learn about leveraging different protocols for high-performance AV network deployments in education, healthcare, enterprise, entertainment, hospitality and retail segments. Additionally, the PLSG Annual Training Course, one of the signature fringe events, featured topics on entertainment, pro AV industries and the integration and development of vertical markets.

2024 Dates: 23 – 26 May

2025 Dates: 27 – 30 May

Venue: China Import and Export Fair Complex, Guangzhou

Total exhibitors: 2,136

Attendance: 107,692

Contact: www.prolight-sound-guangzhou. hk.messefrankfurt.com

Nicole Chan, d&b audiotechnik:

“We were happy to hear that the show has expanded into more exhibition halls and it’s great that more foreign visitors have come back to China. It’s also been encouraging to see how many fringe programmes have been taking place alongside the exhibition. This helps a lot in promoting our products, systems and events. We want to increase our visibility, not only in Greater China, but in Hong Kong, Taiwan, Macau and other nearby regions and this show helps us do that.”

Jason Xiang, EZPro:

“The solutions side of the industry is vital for us because although we are a distributor, we are also an integrator for different vertical markets like conferencing, cultural tourism and theatre. And for the pro audio touring market and live sound, this really is the biggest and most important show. Visitors can come to the booth, they’re relaxed and they can chat and experience first-hand the wide range of products we handle.”

Ron Tizzard, B&C Speakers:

“It’s always been an important show for us. What’s interesting is that here we’re selling to Chinese companies, so we need to get to know those people directly and meet with them face-toface. It’s also a show that really gathers a lot of international people together, and we generally feel that it’s the most complete show in that it covers everything for us: pro audio, MI, KTV and the club scene.”

Francis Lai, DPA Microphones:

“It’s good to be back in Guangzhou again this year and it’s really well-attended. PLSG is becoming a focused show for DPA as we get to meet everybody in the same place at the same time. We have fun, share experiences and information, we learn a lot and then we create new experiences.”

Roberto Mataloni, FBT:

“For the Asian market, and maybe a little further afield, this is the show which everyone should attend; it’s always very interesting because the technology keeps progressing. Our distributor Jusheng Audiovisual have done an incredible job, and we’ve presented them with an award for all they have done in promoting our brand in China, including a number of roadshows across the country.”

“PLSG is the only high-end exhibition for the pro audio industry in China. Coming here definitely gives us more advantages and there’s a higher potential for us to meet more professional customers than at the other shows. I’ve probably been attending now for 15 years, and it makes sense to exhibit regularly; it’s always been a great way to keep in contact with our clients, old and new.”

Manuel Peris Santonja, DAS Audio:

“It’s very important for DAS to be here as it’s been 10 years since we opened our subsidiary office in Shanghai. We’ve seen a number of visitors to the booth from Vietnam, Thailand and Indonesia so that’s been really encouraging. I’d say it’s probably the most important tradeshow for us in China and Southeast Asia.”

Rick Shen, Mipro:

“China is a huge market for Mipro and we have distribution in many parts of the country. This is the one event each year that all our dealers, customers and users gather together for, and it’s been like this for a long time – that’s why it’s such an important show for us and why we will continue to support it.”

Kenan Phang, Sennheiser:

“I’m from Singapore and it’s my first time at the show supporting our counterparts. I see this as a very good platform; there’s so much technology and competition here which is great for everyone as, without competition, we don’t improve. On a personal note, I’ve seen friends from Sri Lanka, Mongolia, Vietnam and Malaysia which has been wonderful.”

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BroadcastAsia

AS NEIGHBOURING ASEAN COUNTRIES HAVE

matured over the years, Singapore’s dominance as a regional hub has declined. Additionally, the relatively high costs to attend a show such as BroadcastAsia has served as a further deterrent for the prospective visitor. At best, the attendance of overseas visitors in recent years has constituted 50% of the total.

Comprising BroadcastAsia, CommunicAsia and TechXLR8 Asia, the collective Asia Tech X Singapore (ATXSG) was reformatted at the Expo in 2022. Visitor numbers, perhaps hindered by the previous annual leapfrogging between Singapore’s more central Suntec City and Marina Bay Sands exhibition centres, recovered in 2023. Exhibitors and visitors alike departed the three-day exhibition with positive vibes with optimism for the year ahead.

A year is a long time between exhibitions, but the expectations remained high during the runup. Returning to four exhibition halls within the Expo, the show is devoid of any grandeur. IBC and NAB may have booked the deluxe suites, but with its sleeveless exhibition badges and aisle carpets removed, BroadcastAsia emits a basic feel. Just as exhibitors had experienced frustration queuing up for lengthy spells for badges on the eve of the show, the morning arrivals of visitors were also confronted with long queues. If the organisers wish to promote their full green credentials, perhaps the insufficient members of staff should scan the downloaded digital badges rather than dispense tatty printouts. Once inside, however, it hardly seemed to matter as the large numbers of attendees bustling between exhibits obscured the grey concrete backdrop. BroadcastAsia welcomed back a mixed crowd of regular broadcasters, distributors and developers, together with personnel from houses of worship, educational facilities and hotels.

NDI networking, OTT platforms, audio over IP technology, live production, UHD content and the latest film production equipment were all displayed and explained. Blackmagic Design had returned, but previous big-draw exhibitors including Avid, Panasonic and Sony remained absent. Therefore, the encouraging visitor levels were shared among those exhibitors that had opted to keep faith in BroadcastAsia. Discussions and workshop panels were aplenty, but Artificial Intelligence (Ai) has assumed the role of the elephant in the room. “Broadcasters constantly ask what the cost of investment is

on AI,” quipped CEO of Ideal Systems SEA, Fintan Mc Kiernan. “Believe me, the cost of not investing is a lot greater.”

Exhibitors purred as they were acquainted with a mix of old and new attendees who had travelled from surrounding ASEAN countries. “I’ve been pleasantly surprised and the regional visitors I have met are all professional,” remarked Orban’s VP of sales, Peter Lee who was demonstrating the latest Optimod 5950 processor. JAA Systems showcased technologies from the Artel, BTL, Calrec, Merging, Prodys and Sonifex stables. With the recently launched Argo S console by Calrec taking the main spotlight, a SonicView24 digital mixer from Tascam was also garnering second looks.

Highlighting the features of the Home server-based processing apps, Lawo has been ever present since 2002. This year, the company exhibited with its distributor BCI on long dual booths separated by an aisle. “We have met some important customers and received some new leads,” concluded BCI managing director William Ng. “It’s a small market we cover here in Singapore, but you have to be present.” Fellow German audio digital developer, Stagetec, put down its Asian roots in 2004. In addition to displaying the Aurus and Avatus consoles, Stagetec Asia also promoted solutions from DHD, DirectOut, FOR-A and Zenon. Few microphone suppliers were evident, but Shure showcased its latest products in partnership with Singaporean distributor Electronics & Engineering. The booth was split between superior wireless technology and a portfolio for content creators such as streamers and podcasters.

Comms were on display with AEQ and Hollyland showcasing cost-effective solutions with abundant price-performance

features. Clear-Com vied for the attention of event organisers and broadcasters with the IP-based Arcadia Central station, Eclipse HX digital matrix, Dynam-EC software and IrisX user panels. LaON Technologies highlighted the significance of its Genie 5GHz technology. Riedel highlighted the Bolero and punQtum intercom platforms in addition to all-in-one and cloud-based live video production, video networks and SmartPanel displays, in addition to the latest SimplyLive technology.

With KOBA, SMPTE, BIRTV, InterBEE and a multitude of broadcast shows all vying for attention, BroadcastAsia continues to cement its status as an ASEAN regional hub for the future in Singapore. The added positivity experienced during the 2023 edition many have been a post-pandemic, in-person overreaction. However, if BroadcastAsia addresses the challenging obstacles that all Southeast Asian broadcasters are currently facing in addition to drawing a wider audience of modern social media broadcasters to its three-day event, the exhibition will remain on air.

2024 Dates: 29 – 31 May

2025 Dates: 27 – 29 May

Venue: Singapore Expo

Sponsors/exhibitors: 700+

Hybrid attendees: c22,000

Contact: www.broadcast-asia.com

From the show floor

Advon Tan, Stagetec Asia:

“I first visited BroadcastAsia in 1993 in Singapore and over those 30 years the exhibition has consistently drawn quality visitors from the broadcast and telecoms industries in Southeast Asia. It’s a great forum to meet our friends operating in broadcasting applications and government institutions. The SMPTE 2110 format continues to dominate and there have been more discussions about the IP format in addition to the adoption of artificial intelligence within broadcast. Most of the solutions at BroadcastAsia are more tailored towards the professional and more established broadcasters. We are not networking with the podcasters or YouTube content creators our solutions go beyond their simplified setups.”

Marc Wilson, Glensound:

“BroadcastAsia is the place to meet the broadcasters and other applicable industry verticals in the region. Our primary aim is to connect with broadcasters, but we’re also expanding into esports, which is becoming a very significant market sector for us in this region. We’re supplying products for the esports World Cup, which is a huge tournament. We have met a wide cross-section of potential customers over three days and one customer flew here from Vietnam specifically to meet us.”

Fintan Mc Kiernan, Ideal Systems SEA:

“We are highlighting ST 2110 and NDI networking in addition to AI and cloud-based solutions. AI is allowing operators and broadcasters to do more, including the automatic delivery of increasing content for different distribution platforms. In future it will allow us to automatically deliver and distribute various formats, dismiss deep fakes and clean up older content. Working with the big guys such as AWS and Comcast Technology Solutions has been a huge benefit to Ideal Systems. As a result, customers have developed an interest in the SaaS video delivery platform.”

Anthony Gofton, Solid State Logic:

“I decided to prioritise Singapore rather than Palm India to demonstrate the S400, which is the new control surface for System T. SSL Asia has not exhibited at this show since 2019, when the exhibition was staged at the more convenient location of Suntec. However, the Expo is a bigger, purpose-built venue and it’s closer to the airport, making it handy for day return customers from Indonesia and Philippines. Many overseas visitors are deterred from travelling to Singapore because the hotel rates are beyond their budgets. The quality of visitors has been high, and we’ve renewed relationships with many industry clients and friends.”

Simon Roehrs, Ross Video:

“We are celebrating our 50th anniversary by promoting a host of latest technologies including Carbonite Code and Ultra 60 platforms, Hyperconverged, XPression Tessera and Mosaic. Astro, Mediacorp and RTM are the key accounts for us in broadcast, but we’re meeting many others from across the ASEAN region. In addition to sporting venues, we’re also talking to the house of worship operators. It’s an overwhelming show, so we will probably book a bigger booth next year. Although I personally prefer Marina Bay Sands, the location of the Expo is favourable because it’s near to the airport. We’ve met quite a few people from Indonesia and the Philippines who have been coming for one day only.”

production companies and rental houses, primarily from Singapore. The same visitors have returned this year to look at our latest LED lighting innovations including the Leo and Pluto Fresnels. Our IP55 and IP65 outdoor fixtures are also attracting attention because they can fully withstand the harsh climatic environment here next

We’re now networking with the esports community by sharing our broadcasting experience, demonstrating how to integrate our products and solutions into their setups. BroadcastAsia is very strategic for us as this is our customer base, so it’s very important that we present our brand, the products and the principals from the brands including Calrec and Tascam. We possibly anticipated meeting more customers, but

Palm Expo India 2024

An increasingly professional show but one that is veering towards live sound and lighting, with decreasing participation from the city’s studio market

THE STANDARD OF PALM EXPO INDIA HAS INCREASED year on year to the point where, on entering the antiquated Bombay Exhibition Centre, the professionalism of the show in such a challenging venue comes as a pleasant surprise. This year, mirroring pro AVL shows the world over, the front of Hall 1 was dominated by the big players including Harman International, Hi-Tech, Vardhaman, Sun Infonet, Alphatec, Sonotone and Stagemix, with sleekly constructed stands – often of the doubledecker variety – now commonplace.

Further into the hall, smaller but equally professional stands displayed a good spread of audio technology, hosted by a growing number of international staff together with Indian partners. Halfway up Hall 1, however, the domination of domestic accessory and speaker component brands abruptly took over, transforming the rear half of the hall into more of a local marketplace.

Overall, Palm India is continuing to swing towards the live sound and lighting markets, with fewer of the studio brands and distributors of old. Meanwhile, the erstwhile DJ hall and performance area has been replaced by a few DJ displays in Hall 1. The dominance of the live industry was also apparent in the Palm Conference and Seminar programme, with informative talks aimed at gearing India up for more stadium concerts and appearances by international artists. A panel on day three discussed the challenges of preparing the country for world-class entertainment events, no doubt partly fuelled by the recent Ed Sheeran concert in Mumbai and second outing for Lollapalooza

From the show floor

Overall, Palm India continues to thrive, with most exhibitors repeating the same message: this year they were seeing more professional, well-informed attendees who know what they are looking for and are keen for education, and fewer of the lessserious crowd of old. Although the floor became overcrowded at times, particularly on days one and two, it felt purposeful, and the ongoing updates to the convention centre are encouraging. The newly opened Nesco IT Park, a few minutes’ walk away, has

Dragonfly SMPTE

LEMO SMPTE

SmartBeam DUO

InfoComm Las Vegas 2024

THE LAST TIME INFOCOMM WAS HELD IN LAS VEGAS the world was still recovering from the pandemic or, should I say, was in the process of springing back to life. And while Asia and the Middle East may have been bombarded with local shows recently in 2024, the US market has escaped the madness. This year there were no pandemic and supply chain obstacles getting in the way and so going into the show, expectations were high. As a result, how would Las Vegas InfoComm compare this year? If incoming emails before the show were any indication, it was going to be a busy three days!

Taking place from 12–14 June at Las Vegas Convention Centre (LVCC), InfoComm 2024 hosted 833 exhibitors showcasing pro AV products and solutions across nearly 38,000m2 of floor space in the LVCC’s West and Central Halls. Renovation works around the North Hall area made for a less than ideal 15-minute journey time between the two parts of the show, adding a considerable obstacle to those with tight schedules. This was mitigated slightly by a free shuttle bus between halls as well as the Las Vegas Loop – saving steps but not really saving much time. Both of which were heavily

From the show floor

“I would give this year’s show a solid eight. Traffic has been steady and we have seen attendees come in with fairly large projects. People tend to start with a conversation about our our solutions fit in, so that’s very positive. The one issue I had was with the logistics of getting back and forth from Central Hall to West Hall. Due to the distance between the two halls, many of the attendees didn’t return to our booth despite their intention to do so. And few of them knew about the shuttle going between the two halls.”

utilised throughout the three days. The InfoComm smartphone app also proved to be a great aid in getting you where you needed to be as quickly as possible, with GPS-guided wayfinding to exhibitor booths.

The show kicked off with the customary ceremonial ribboncutting outside the Central Hall before a swell of eager visitors rushed the show floor. An hour later, QSC CEO Joe Pham delivered his keynote presentation titled Everything Has Changed: AV’s Infinite Potential in an Exponential Age to a packed out room of more than 600 attendees. Somehow managing to take listeners back through all 4.2bn years of

Mercedes Stevao-Boase, tvONE:

“The show was solid, and it’s been great to be here, yet I find InfoComm tends to be better in Orlando. There, all the attendees are in one main hall, whereas in Vegas everything is really spread out. This year has been challenging due to the great distance between the Central and West Halls. Once people go to Central, they don’t come back to the West Hall because it is so far to walk. I’ve just learned there’s a helpful shuttle to move attendees between halls, but no one else seems

Busy aisles in the Central Hall

earth’s history, Pham’s talk highlighted the unique position the AV industry is in as the “eyes and ears” of the world and how AV will be centre stage in the forthcoming AI revolution. This set the tone for the show where, despite alleviated supply chain issues meaning hardware products were once again in abundance, it was the role that AI and cloud-based computing would play in the future of our industry that became the main talking point on many booths. As was to be expected, the digital signage section of the show in the West Hall was dominated by large, very high-resolution displays and ambitious virtual production demonstrations. While the aisles of the Central Hall were packed throughout the majority of the three days, traffic in the West Hall was much quieter, but that didn’t appear to dampen exhibitors’ spirits.

Just across the main corridor from the Central Hall, the North Hall meeting rooms were where the majority of the audio demo rooms could be found. There was a substantial increase in the number of manufacturers taking up space with 27 on the billing compared to just 10 in Vegas last time.

From the show floor

The show also introduced Transform @ InfoComm 2024 featuring an exhibit hall, dedicated to conference and networking opportunities focused on digital transformation while InfoComm and AVI Systems teamed up again to present the InfoComm Esports Live 2.0

InfoComm traditionally flips annually between Orlando and Las Vegas and, unsurprisingly, the gambling capital of the world has been the more popular fixture. However, as a self-contained show all held within one large hall, the setup in Orlando is

Sean Sheridan, Brompton:

“I think the show is holding up compared to previous years and we’ve felt it’s been a good turnout. People do make the effort to travel here, as it’s one of only 2–3 major shows in the US and people like the way it flips between coasts. In terms of visitors, it’s a bit of a mixed bag in that we still see quite a few people that don’t know Brompton but as the years have gone by that’s decreasing.”

Dave Haydon, TiMax:

“It’s our first time here with our new owners, the Focusrite Group and so has been beneficial to meet their network of application guys and regional sales engineers and bring them up to speed on TiMax. We’ve had a lot of good reactions from the demo room too which is what we’d intended so from that respect it’s been great being here.”

undoubtedly more appealing. Perhaps this was borne out in the attendance figure of 30,271, which showed that the 2024 Las Vegas InfoComm attracted just 3% more attendees than the previous outing in Orlando. Contrast this with the 80,000+ at ISE and that begs the question of whether InfoComm can still consider itself a truly global show?

The post-show figures from AVIXA highlight that attendees arrived from 125 countries, with international visitors making up 23% of the total. While the majority of these were likely South American or Australasian, there was a strong showing from Europe. The numbers of people travelling from further afield regions such as the Middle East and Asia though still felt far fewer than during pre-pandemic times. At the end of three days, InfoComm 2024 certainly felt much bigger and busier than in 2022, so it was somewhat surprising to see the official attendance figures come in at just over 30,000. That could be considered a poor vintage compared to the 44,129 who attended Orlando in 2019 but, as many were at pains to point out, InfoComm’s strength has and always will be the quality of those that turn up. In this regard, InfoComm 2024 certainly did not disappoint.

Tom Van de Sande, Audac:

“It’s my third time at InfoComm. The first was actually Las Vegas right after Covid hit, and it felt kind of like a startup. Then last year in Orlando was very nice. It had a great dynamic, and a lot of enthusiastic people that were really happy to be there. This year I was hoping for it to be a bit more crowded. The quality of people here is good, but I would say it hasn’t really been more successful than Orlando, as we expected.”

James King, Martin Audio:

“We were hoping to see more international customers and I think it’s more US-centric than in previous years. We’ve had great support from our Australian distributor bringing integrators over but not many from Asia and very few from Europe. It’s been good, solid but not overly busy. InfoComm remains a key tradeshow for us but there has to be an understanding of the dynamics that come with this show.”

Allison Arlt-Suchon, Sound Devices:

“I’d give this year’s InfoComm USA an eight or nine out of 10. Traffic was steady throughout the show with great conversations on our booth. Since we announced our push into the live sound market, we have had more houses of worship interested in our solutions, and I was impressed with the number of HOWs that came by. Another great thing that helps increase traffic at our booth is our proximity to the other Audiotonix brands’ booths.”

Aly’ssa Peterson, Ametek:

“This year’s show was pretty good. There was less traffic than last year’s in Orlando, yet the quality of the attendees this year was outstanding. Many came to our booth with solid projects they were working on. One thing that was interesting was I had some people here from Asia and you would think they would wait until InfoComm Asia in a month’s time rather than travel to InfoComm USA.”

Howard Jones, Genelec:

“We’ve not been at InfoComm for several years, so returning now is largely down to our smart IP networked loudspeaker series which we’ve found has brought a lot of new customers to us. We see networking as very much the future of AV and having a growing range of loudspeakers that function off a single Cat cable that supports PoE, AoIP and loudspeaker management gives so many benefits for integrators to enable them to build scalable, future-proof, flexible

Francesco Fanicci, Powersoft:

“To be honest, I was expecting more participation and I think we’re probably used to seeing more people at ISE compared to InfoComm. We have been busy but when you look around, I don’t feel that there’s any really big news or major launches coming from the industry, it’s perhaps mirroring the US market. The distance from the other halls doesn’t help but also there’s been so many tradeshows recently too, which diverts focus and resources.”

The LVCC’s West Hall

Understanding immersive

Active in the field of sound reinforcement and room acoustics for 30 years, Thorsten Rohde is MD of Rohde Acoustics, a cofounder of Amadeus Acoustics and a senior lecturer in acoustics at the University of Music and Performing Arts Vienna as well as the Technical University of Graz. Here, he explores the true meaning of immersive audio

WE HUMANS HAVE AN IMMERSIVE IMPACT AS BOTH senders and receivers. This extends across various sensory levels, with auditory perception particularly notable. Typically, each of us have two auditory receptors and possess the ability to generate sound in diverse forms. Thanks to the signal processing carried out by our brain, we are capable of perceiving our environment from every angle. Moreover, we can emit sound signals in all directions and subsequently intercept their reflections.

In this regard, neither monophonic nor stereophonic signal reproduction can truly replicate “species-appropriate hearing” for us humans. Consequently, it’s only logical that advancements in the audio realm address this issue, striving to deliver enveloping, immersive systems for listeners. There are currently a variety of technological solutions capable of creating a 3D sound field. It’s now opportune to create content tailored for these systems, maximising their efficiency and economic viability.

A multipurpose space can only be commercially viable if it can be used for a wide variety of event formats, ranging from spoken word to electroacoustical amplified concerts to symphonic music. The necessary acoustic properties of the room are determined by the type of events held and must be adapted accordingly. It must also be possible to spatialise audio signals in the room from all directions. It is not only about individual sources but also about soundscapes that create atmospheres; the room itself becoming an enveloping sound experience.

the reverberation time, but that’s just the beginning; first you have to understand what constitutes a natural-sounding sound field and how it can be changed actively.

The regenerative approach (Figure 2) on the other hand uses signal feedback loops between microphones and speakers to create the reverberation. Microphones are placed outside the critical distance of the sound sources, ideally in the diffuse sound field of the room. As a result, listeners and performers are in the same acoustic environment. The audience also interacts with the actively generated room acoustics.

If you enter a room and make a sound, for example by clapping your hands, you will receive an “answer” giving an indication of the room’s size and nature. With a little practice you can feel the characteristics of a room, even with your eyes closed. Each room has its own acoustic signature, imprinted by the geometry and furnishings. We perceive the reflections from the boundary surfaces from all directions and use them to determine the loudness, clarity, envelopment and intimacy of the room.

This acoustic signature can now be manipulated with electroacoustic support and digital signal processing. This results in completely new fields of activity for sound designers. You can create or “mix” exactly the space that the performance requires. A hall that has been acoustically optimised for the reproduction of loudspeaker signals, for example, is unsuitable for choral music or chamber music. The simplest method of this room adjustment is to change

Active acoustic systems transform room acoustics using electroacoustic components such as loudspeakers, microphones and signal processors instead of, or in addition to, the absorbers, reflectors and diffusers used in passive acoustics. Initially, a distinction was made between two basic concepts: in-line and regenerative (non-in-line) systems, the main difference being how the feedback between microphones and speakers was handled (Figure 1). In-line systems use a number of directional microphones placed within the critical distance of the sound sources. Due to the directing properties and the spatial separation of microphones and speakers, the loop gain is as low as possible and feedback between microphones and speakers is reduced or avoided. The acoustic changes in the auditorium are generated either by algorithmic methods or by folding the microphone signals with measured or generated impulse responses. As a result, the audience and performers are in different acoustic environments. The electroacoustically generated second room is decoupled from the existing architecture. Without a source signal in the stage area, there is no change in the acoustics in the listening area.

Today’s systems typically use both concepts in a hybrid approach. With regenerative concepts in which passive and active spaces are mixed via feedback loops, the newly created, combined space is connected to the passive acoustics. Since the microphones of the regenerative concepts are placed in the diffuse sound field, only the late reverberation time can be adjusted. In addition, in-line concepts with microphones placed closer to the sound sources can also influence the early reflection patterns that are responsible for many acoustic phenomena and significantly determine the quality of concert halls. Many systems convolute the microphone signals with generated or measured impulse responses.

Turning to the mixing concept, the reflection patterns generated in this way are reproduced in addition to the passive reflections created by the existing room geometry and are thus decoupled from the passive acoustics. This has a similar effect as opening a number of doors to a few additional reverb chambers. Even though the input

An invisible immersive system was installed in the King Albert Theatre in Bad Elster

Thorsten Rohde of Rohde Acoustics and Amadeus Acoustics

Figure 1

Figure 2

signals with complex impulse responses are processed by a very good room, they are still reproduced via individual loudspeakers. This is more like listening into a hall through one or more open doors, and you can imagine how difficult it is to create a naturalsounding sound field throughout the room.

In addition, another actively generated space is placed on top of the existing passive space and there is a risk of an unnatural double space. Corresponding systems can therefore only be adjusted very weakly so that the passive space tends to mask the double acoustics, which leads to a “kink” in the decay curve; the so-called dual sloping. If there is enough gain before feedback to achieve a corresponding strength, the result will otherwise be audible acoustic artefacts.

Other systems use geometrically generated reflection patterns that are based on the existing geometry of the room and change its properties in a targeted manner. The geometric concept in the context of active acoustic systems describes a hybrid system that generates all active reflections from a 3D model of the existing architecture. Sound sources are picked up by evenly spaced microphones and their location is analysed. Figure 3 shows the basic structure of such a system (red and green dot microphones and associated vectors to the speakers; VM = vector matrix,

MDR = multichannel reverberation). Reflections are created using a vector model in relation to the location of the sound source. Evenly spaced speakers are mapped to the wall surfaces to reproduce the assigned active reflections.

The reflections can be controlled in terms of their spatial and energetic distribution, density and timbre. In addition to the direct sound from the source, all reflections generated by the distributed microphone grid are also captured. The system begins to generate a diffuse sound field which also depends on the geometry of the actual space and is fed from the vector matrix. By changing the local vectors, the spatial geometry is manipulated (Figure 4).

Now we are familiar with the tools, the creativity of sound designers is necessary in order to create unforgettable sound experiences for performers and audiences. Figure 5 shows subjective acoustic parameters that can be used to describe a sound impression in a hall and to describe the preferences of the listeners. These factors are based on the work of American acoustics expert and former MIT professor Leo Beranek and Tapio Lokki from the Aalto University School of Electrical Engineering. There is a large body of literature on concert hall acoustics that describes these subjective parameters. Interestingly, some listeners prefer clear and intimate

acoustics while others prefer a strong wrapping at high volume. In order to create a satisfying experience for all listeners, parameters such as clarity, intimacy, envelopment and volume must be adjusted accordingly. Active, trained listening cannot yet be replaced so easily! Before active acoustics are used in a room, the respective needs and preferences of the artists and listeners must be explored. It is now up to the sound designers to implement these needs creatively and professionally with active acoustics.

Of course, such a system can also be used for 3D audio applications. Separate signal inputs allow 3D audio spatialisation for live events or immersive experiences. Audio objects can be located in three dimensions in the room and made audible. On the basis of a 3D room model, live signals or pre-recorded content can be moved continuously within a 3D space. Ideally, the 3D audio works simultaneously and independently of the active acoustics.

Today, we have various systems and tools at our disposal that can be used to create immersive, enveloping listening. It is time for sound designers to begin not only to enable the playback of recorded or live signals with enveloping loudspeaker systems, but also to “mix” the entire room for individual events. Active acoustics and immersive audio create immersive acoustics for unforgettable and emotional moments.

www.amadeus-acoustics.com

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Movers and shakers

Pro Audio Technology (PRO) loudspeaker designer attention to the professional audio sector with his new brand, Theory Professional. Richard Lawn finds out more

HAVING SUCCESSFULLY CREATED LOUDSPEAKERS dedicated to the high-end hi-fi, cinema and residential markets since the 1980s, Californian entrepreneur Paul Hales firmly believes in the “less is more” approach. “With the right bandwidth and dynamic range, a good, versatile speaker needs to work anywhere,” he says. It’s a simple philosophy that has been applied correctly wherever he has been commissioned.

Hales’ golden ear was tuned even before his teenage passion for rock and jazz developed, his hi-fi enthusiast father, who made his own enclosures incorporating JBL LE8 drivers, unwittingly influencing his son. When the treasured speakers malfunctioned beyond repair, Hales Junior sold his drum kit and washed windows to buy his own professional hi-fi system with “a large Pioneer receiver housed in a walnut box with weighted knobs”. An emerging talent for drafting and drawing landed him a parttime job at the city’s engineering department some four years

PRO Experience Centre’s downstairs theatre

Theory Audio Design president Paul Hales at the Lake Forest Experience Centre

A Theory setup at the Experience Centre

Pro AVL Asia(MWC)W22.8H15.4cm.pdf 1 2024/4/8 上午 10:24:50

Theory Professional COO Marc Bertrand

television loudspeaker systems and DSP products. Most recently, Dolby Laboratories turned to the PRO president for his expertise on acoustics and loudspeaker design.

At the turn of the current decade and the inception of Theory Audio Design, Hales made that hi-fi sound available to residential and commercial installed audio systems. “Because of my roots, these commercial speakers sound like a high-end hi-fi system,” declares Hales from one of the demonstration suites within his SoCal Experience Centre. As the lights are dimmed in the softly furnished living room environment, several very different genres of music including a live jazz ensemble are played. In the darkness, you can almost touch the double bass player and taste the tobacco. When the lights are turned back on, Hales highlights the compact, industrial, dual 5-inch design and less than 4-inch deep cabinet responsible for this expansive

The design philosophy of Theory Professional is exemplified by the dual 5-inch compact loudspeaker. In addition to reinforcing hi-fi nuances and characteristics in interior and outdoor residential or commercial settings, the sb25aw is a versatile compact cabinet. “Even in a warehouse, we can still set up this dual 5-inch cabinet where it will sound better than a high-end stereo pair,” explains Hales. “Ultimately, I nailed it with the sb25aw, because it sounds so loud with a big singing voice. It continues to amaze me how a relatively small speaker can deliver such a deep, big sound. With the internal transformer, it can run in 70V or 100V operation and, if I put only one in 70V and played them as a stereo pair, you wouldn’t be able to tell the difference.”

Warming to the theme of versatility, Hales continues: “A systems integrator ideally needs to specify one model of

full-range audio. It’s no idle boast. “It’s that difference, that attention to detail, that you just don’t find elsewhere that attracted Marc Bertrand,” says Hales. “Marc realised that he could go to the market with something interesting that was not a me-too thing.”

Following an introduction by a mutual industry friend and a subsequent demonstration, Bertrand joined Hales and enlisted to the Theory Professional cause last year. The newly appointed COO started his career in 1990 in his native Ontario, Canada, culminating as CEO at the TC Group, where he oversaw the fortunes of TC Electronic, Lab.gruppen, Lake and Tannoy before moving to Adamson where he headed up global operations as CEO. Having overseen the launch of Theory Professional into the commercial market, Bertrand’s excellent industry connections combined with his experience in audio manufacturing, logistics and growing sales networks at a global level make him a perfect fit for the team.

created following the annexation of half of the building in 2022, previously owned by Best Buy Electronics. “We literally opened a partition door, cut a sheet of rock out and the renovations commenced,” explains Hale. “The millwork area remains in the middle, but the rest of the centre was extensively refurbished including the existing theatre, and the family room has been repurposed into a conference room.”

Predating Bertrand’s arrival, fellow Canadian Erin Phillips accepted the role of director of marketing and public relations for PRO and Theory Audio Design in 2021. Born into an audiocentric family and spending her formative years working part-time in a speaker factory overseen by her father, Phillips quickly proved she was capable of much more, and was promoted to vice president for both companies. She continues to lead all marketing and communications initiatives including the launch of Theory Professional in 2023. The team includes VP of residential sales Mark Goldman, office manager Jen Kavanagh and aforementioned sales engineer Chris Farley, who followed Hales to QSC Audio where he worked as lead programmer on a test system that automated the quality control testing of loudspeakers. In 2010, he followed Hales once again, to lead the development of the software configuration tool for PRO’s proprietary DSP amplifiers.

loudspeaker that can be fixed inside or outside, flat on the wall, in a yoke or a ball mount or suspended from a pole. The project can be an educational campus, a theme park with varied applications, restaurants or retail outlets. If you specify pendant and ceiling speakers, you only need one model. By adopting the same one, such as our ic6, you can serve three different applications.”

Spanning over 700m2, the Experience Centre shared by Theory Audio Design and PRO is in the Californian suburb of Lake Forest. Here, products from both brands can be experienced first-hand, including a Theory surround system with a soundbar to match the 85-inch TV display in addition to ear-level cabinets, overheads for Dolby Atmos and two 15-inch subwoofers all powered by a single 1U multichannel amplifier with loudspeaker controllers.

Having located the demo suite, workshop and offices in the Lake Forest facility in 2014, the main Experience Centre was

Visitors and guests are invited to book demonstrations at the Experience Centre, and the target audience was extended in 2023 when Theory Professional debuted its commercial series in a listening room at InfoComm. “We had no neighbours, so we could play every hour on the hour, and the post-show response has been phenomenal,” he continues. “I am pushing myself to design each new speaker to be better than the previous one. We intend to prove that at InfoComm 2024. Having made mistakes over 42 years, I have continued to learn a little each time and apply that knowledge into the next design. To my ears, the speakers continue to sound better and, with this team, Theory Professional is currently in ludicrous mode for audio.”

A trained ear, four decades of experience, a dedicated team and unassuming loudspeakers that effortlessly hit the sweet spot, Theory Professional is on course to dwarf the other cherished brands within Hales’ portfolio, not to mention other audio brands in the commercial market at large.

www.theoryprofessional.com

One of the theatres at the PRO Experience Centre

A PRO demonstration nook at the Experience Centre

The Experience Centre is shared by Theory Audio Design and PRO

The sb25aw is a versatile compact cabinet

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Aligning for success

Since modest beginnings in 2003, Linea Research has been quietly scaling to great heights and increased visibility. Caroline Moss looks back over the past 20 years

and learns what’s in store going forward

WHEN LINEA RESEARCH COFOUNDERS AND EX-BSS Audio staff Davey Smalley, Paul Williams, Ben Ver and Pip Wilson gave up secure employment in pro audio to go it alone, little could they have dreamed that their nascent amplifier company would one day win a King’s Award for Enterprise in Innovation and become a key acquisition for the Focusrite Group. Twenty years later, all of this and more has vindicated the founders, two of whom – Smalley and Ver – remain at the helm. As commercial director and drawing on his experience as sales manager at BSS Audio, Smalley is well-positioned to handle the company’s day-to-day operations and efficiencies, while engineering director Ver has been designing electronic systems for over 30 years, including applications for radio communications, robotics, computing and pro audio, with an emphasis on Class-D technology. And former R&D director Paul Williams, who retired in 2022, had built a stalwart reputation as a DSP designer since the late 1980s in many industry roles. The company’s initial aim was to design, develop and market innovative professional audio equipment for OEM clients. Having done the research and developed some critical technology, Linea produced its first product: the X-Pod Class-D amplifier, with an integrated switched-mode power supply, DSP and networked software control. With thousands of units now deployed globally, the X-Pod product line continues to be used by new and existing clients. Meanwhile, Linea has developed its own-brand amplifier, DSP, network and software technology, culminating in its current range of amplifiers and system controllers.

The strong association with significant brands gave Linea and its products the reflected quality assurance it sought. “I remember talking to another potential OEM customer and he said, ‘well, I know your stuff is good because otherwise Tannoy and Turbosound wouldn’t be using it’.”

Despite becoming a global manufacturer, Linea maintains strong personal relationships with its customers, distributors and supply chain. This is something the company is keen to maintain, and it’s currently strengthening its distribution network for the ownbrand products, with new partners including Guangzhou Guidance (mainland China, Hong Kong and Macau), PRO LAB (Middle East), Sons Do Marquês (Portugal), Ampco (Netherlands) and Rock Centrum (Czech Republic and Slovakia).

In 2011, Linea embarked on a project which Smalley describes as “to try and make the best amps in the world”. Around this time, Linea also lost two of its biggest OEM customers due to company acquisitions. “We decided to maintain the investment and not reduce our staffing to retain the essence of the company because we really felt that, as far as we could see, our amplifiers were going to be the best product on the market. And once you’ve done five years of a six-year project, you just have to keep going.”

But back in September 2003, heading to London’s PLASA Show with a schematic drawing on a piece of paper, Smalley attempted to sell the concept. Within a year, Linea had formed partnerships with a number of UK and European OEMs including Turbosound, headed up by his former boss, Philip Hart. “Philip being the chairman meant that the door was open, but we had to walk through it,” explains Smalley. “We had to sell to them on exactly the same basis anyone else did; the product had to be right, we weren’t shown any favouritism.”

Early customer demand for a good-quality, cost-effective multichannel processor steered the company’s product development, with the LMS loudspeaker processor becoming the first, unbranded product from Linea and still in production today. “We weren’t trying to sell under our own name and didn’t really do that until 2015,” says Smalley, explaining that in its first decade, Linea amassed more than 20 OEMs, some significant and some smaller, from around the world. “We developed loudspeaker amplifier modules with DSP and networking in 19-inch rackmount units, which were for speaker processing as well, and supplied them to Turbosound and maybe 20 OEM customers around the world.”

Linea hit the ground running with the launch of the ASC48 system controller in 2014, with processing for four inputs and eight outputs, A/D conversion and the company’s latest DSP technology. This was followed by the 44 Series amplifiers in 2016 and the 48 Series a year later. In 2018, the range was extended with 20K versions of Linea’s eight-channel amplifier models. In late 2022, Linea announced the beta release of its System Engineer 8 control and telemetry software platform, providing software control over the M and C Series of networked DSP amplifiers and the ASC48 Advanced System Controllers, with a release of version 1 expected later in 2024.

Another major development came about in 2019 when, having outgrown its original premises, Linea acquired 1,400m2 of R&D space in Letchworth Garden City, 25 miles north of London, where it develops and manufactures its product in the two-unit centre. “We create everything in-house: PCB designs, physical hardware, firmware and software,” explains Smalley. “We make all the prototypes and our own test equipment as opposed to subcontracting and using off-the-shelf components. Using the standard offerings is quicker and cheaper but is unlikely to yield best-in-class product.”

All production is carried out at Linea’s UK facility

Davey Smalley (left) and Ben Ver (right) accept the King’s Award for Enterprise in Innovation

L–R: Nicola Hales, Martin Hildred, Alex Buttigieg, Chris Wright and Kaylie Milton

Shortly after the move, Linea appointed a sales and marketing manager who was new to the role, but not the industry. Martin Hildred had worked – and occassionally continues to work – as a front of house engineer for bands that have included Cinematic Orchestra, Basement Jaxx, Erasure and Doves.

“We’ve gone from a small to a mid-sized company striving to be a large one, and really it’s about brand identity; part of my job is to make people aware of Linea Research,” he says. His live event experience is proving invaluable in the new role: “On tour you’re trying to replicate the same thing over and over again but here, no days are the same. But, if you can’t produce the show within the set timeline, then you’ve failed, so I’ve used that mentality to adapt to my position here where there’s an element of needing to get things done; making sure an order’s out the door for a specific event, giving a customer some technical support, or making important marketing announcements on time. Also, I’m coming from a user’s perspective; I didn’t come into this role from a manufacturing, R&D or engineering background. I was a fresh pair of eyes for the company, and the fact that I still do gigs means I get to see what’s being used in the field, how it’s being used and what people think, still mixing in those circles to be able to understand where our next products are going to be coming from.”

Eventful as the past five years have been for Linea, the last two have reached a crescendo. In 2022, the company was acquired by the Focusright Group, already a loyal customer of Linea’s amplifier modules for its Martin Audio brand. While this enables greater integration of loudspeaker and amplifier technology, the partnership also supports Linea in the continued development of its own products and sales through third-party distribution and to OEM loudspeaker customers. Then, in 2023, Linea Research was presented with a King’s Award for Enterprise in Innovation, recognising the company’s contributions to the field of audio technology.

These recent achievements are impressive: the presentation of a rarely awarded business accolade. Cofounders who’ve sold their company yet remain committed to running the business and designing new technology rather than bowing out. Close ties with customers and suppliers. Staff that have experience on different sides of the fence. All combine to explain the success of a company that, until recently, had worked away in the background, providing reliable technology to third parties. Another major element at play is a simple physics equation.

A recent coup for Linea was the provision of over 250 amplifiers across various stages of the Glastonbury festival. This is where Hildred, attending as its representative, could use his experience to the full, interfacing with the many engineers onsite using Linea technology. “I’m there as technical support for our amplifiers and our own brand as well as being there to say hello to the engineers, to integrate them with the sound company and make them feel comfortable,” he says.

Other notable recent projects include an installation of more than 70 C Series amps at a multiscreen Dolby Atmos cinema in Tokyo, while Taiwanese distributor SSBC International has integrated M Series amps into a museum in Taichung. Then, late last year, Linea announced a partnership with UK-based manufacturer PMC, renowned for its reference loudspeakers, which was seeking a multichannel amp to match with some of its products.

“Ultimately, you are restricted by heat,” Smalley muses. “The focus must always be on the ratio of power that reaches your loudspeaker. Hopefully, 90% of the power drawn will go to your loudspeaker; if you can reduce heat waste to 8% and get 92% efficiency, then that makes a big difference. On every thermal spec comparison, our amplifiers waste less heat than other manufacturers’, and are therefore more efficient. Our focus, as ever, is producing the best amplifier and DSP technology we possibly can and we’re happy to say we’re at the forefront of amplifier technology. We are masters of the technology involved in Class-D amplifiers, the power supplies that go with them, digital networking and software control.”

With 20 years under his belt running one of the most successful pro audio manufacturing operations in the UK, Smalley is fully justified in making that statement. Bring on the next 20.

www.linea-research.co.uk

Linea’s 1,400m2 facility 25 miles north of London

Moving into the new premises in 2019; L–R: Alex Conway, Lee Basham and Davey Smalley

Dragon dance

Richard Lawn meets Guillaume Mauffrey to discover how Riedel is gearing up its commitment to the APAC markets

FROM JAPAN SOUTHWARDS TO EAST TIMOR, RIEDEL

Communications’ red logo is spreading across APAC. Having committed to investing in the hugely dynamic APAC market over the long term, CEO Thomas Riedel has overseen the building of concrete foundations in several strategic hubs. Consequently, the German brand’s experienced and motivated team is penetrating far and wide throughout the region’s professional AV and broadcasting sectors.

From dabbling with Motorola walkie talkies in the mid-1980s, Riedel has overseen phenomenal growth since founding the company in 1987. In addition to being an innovator, the founder is highly adept at building teams. Synonymous with Formula 1 and Red Bull sporting events together with his recent foray with the SailGP crews at sea, Riedel can sometimes be found within the main Wuppertal headquarters, where he built his loyal and formidable talent pool.

With a headcount of over 1,000 employees, a small but significant percentage are now based in Asia Pacific. Assuming the role of sales director APAC in early 2023, Guillaume Mauffrey is charged with spearheading Riedel’s new chapter of development across the region. Infectiously energetic, with a twist of Gallic flair, Mauffrey brings a wealth of Asian and industry knowledge to Riedel. The French national has lived in Hong Kong for almost 20 years and holds a BA in International Relations at Boston University and an MSc in Management for China from SOAS (School of Oriental and African Studies), University of London.

Following growth in sales and team size, the regional leadership was expanded in late 2023. Reporting to product division COO Daniel Url, Mauffrey works closely with a team of regional general managers including Peter Chen in China, Vincent Lambert in Japan and Marion Dimayuga in Singapore. Prior to that, Oceania broke away from Asia Pacific, with its own separate entity including accounting and financing. Having joined Riedel in 2016, Chris Johnson is the Oceania director overseeing Australia, New Zealand and the Pacific islands. Supported by regional sales director, Erik Miehs, the Sydney office provides local technical support, service and operations.

There seems to be no mountain high enough to limit Riedel’s ambitions. This was probably best exemplified in 2012 when Riedel’s AV technology was relied upon during Felix Baumgartner’s 39km world record freefall jump from a stratospheric balloon. Similarly, Mauffrey is not imposing a ceiling restriction to potential growth, but he is keen to refresh the Riedel brand image.

“It’s important to let the market here know that Riedel is not just here for the games,” he qualifies, a reminder that Riedel’s image was too heavily associated with sporting triumphs such

His quest is to create a realistic network of dealers, preferred suppliers and enthusiasts in each country – one step at a time. To accelerate change across this fragmented region, Oceania has adopted a direct sales approach and Asia Pacific is in the process of creating a channel partners network. As general manager for China, Chen manages sales, profitability and business generation from new headquarters in Beijing. Currently managing four channel partners, Chen and his team are seeking new clients in related segments without any conflicts. Currently, North Asia is ahead of the curve according to Mauffrey, citing that the mature Japanese

L–R: Rik Hoerée, CEO, product division with CEO Thomas Riedel

L–R: Riedel’s APAC sales director Guillaume Mauffrey and regional marketing manager Joreen Chen

Thomas Riedel with a larger-than-life Bolero intercom transmitter

resellers. Hibino Intersound Corporation with its large SI team recently became our broadcast channel partner. I was apprehensive initially as I did not want our other partners to feel betrayed by this appointment, but they understand that as the pie gets bigger, we need to divide broadcast from pro AV. Similarly, Riedel is working with Dasan SR for Bolero and Artist communications in venues and D2S for live productions in South Korea. Our job is to make sure that all the partners are happy and creating new business for Riedel.”

With Dimayuga serving as general manager of the Singapore headquarters, the Southeast Asia (SEA) operation represents Riedel Communications’ biggest challenge geographically. “Compared to Europe and North America, Asia is a complicated continent,” explains Mauffrey. “Because it’s fragmented with 17 countries, all with different cultures, languages and currencies, Southeast Asia will take longer to develop. Systems integration remains challenging, whereby a systems approach is required. All the projects are mission critical, so our systems need to communicate with all the other parts. When we enter these discussions, we must enter as specialists rather than the intercom guys.”

Since opening the Singaporean office in 2023, Mauffrey is less interested in the bricks and mortar than the team that has been tasked to take Riedel to the next level, saying: “We could be working out of a caravan that’s switching cities every day and remain efficient. The team is not embedded into the office and spend a lot of time in front of the customers.” Riedel is currently focusing growth in Indonesia, Malaysia, Singapore, Thailand and Vietnam. As ambitious as Mauffrey is, he is also aware that even a company with Riedel’s resources has limitations. “Ideally, we want to work with three or four partners and appoint a team of 15 with an office in Vietnam and Indonesia, but we must be realistic. With broadcast dominating in the north and entertainment in the south, Vietnam is a geographical jigsaw puzzle to manage. You can focus on Vietnam and create a rental strategy, but Malaysia requires a different approach. Even with an experienced team, it will take literally six years to get to a point in Asia that probably took three years in Europe. However, we will build a much larger business in the future.”

Launched in 2017, the Bolero 2.4 GHz wireless intercom platform has been a runaway success for Riedel Communications. In addition to acknowledging its importance, Mauffrey refers to Riedel’s biggest draw as the tree that previously hid the forest: “Bolero is the ideal

by building synergies in the region, he is keen to highlight the fact that there is more to Riedel than intercom products.

“Our intercoms are merely one of the product categories within our huge portfolio for adoption within fully integrated, end-to-end solutions for audio video transport and communications,” he asserts. “We are demonstrating the flexibility that can be garnered from Riedel products and introducing business models to our customers that they may not be familiar with, such as rent-to-own. Several projects we are currently working on will further differentiate Riedel from the intercom competitors.”

Riedel is not quite the brand that some customers may remember. “What previously resembled an audio solution now integrates voice, video, data and MPLS in addition to audio,” Mauffrey continues. “We no longer need to compete in terms of products if we are promoting complete AV systems solutions. It is our mission to understand what our clients’ current challenges are, especially those operating complex ecosystems. I want to know where there is a gap and how Riedel can help them.”

As the conversation touches upon topics including automation, optimisation, broadcast versus AV sector budgets, artificial intelligence, current business in Macao and SimplyLive, Mauffrey provides a deeper insight into Riedel’s commitment to pioneering a certification programme: “Riedel wants to be known for the quality of its service, but it is not possible to directly place 17 engineers into 17 Southeast Asian countries. Therefore, we are developing a regionally tailored certified training programme that will lead to the creation of a network of certified engineers across APAC. The goal is to assure Riedel’s customers that a core competence team of skilled engineers can be called upon promptly. The training programme is being conducted from a dedicated trainer based in Australia and driven by our channel partners.”

Since 1987, Riedel has become a widely recognised brand whose logo stands out as much as Thomas Riedel’s red trainers. Sailing forwards under Mauffrey’s experienced captaincy, the brand’s expansion in Asia is certainly gaining accelerated traction. “Operations in Asia are not always linear, so making sales forecasts is almost impossible compared to other geographic regions. However, with the channel partners network, we are going in the right direction and sales in this region will catch up to Europe and America over the next four years. Because of our founder Thomas, this is a very dynamic company from the top down. He recruited the right team and we are all as passionate, so there’s no guarantee of a weekend.”

www.riedel.com

Chris Johnson oversees Australia, New Zealand and the Pacific islands

Riedel acquired SimplyLive in 2022

Riedel intercoms are relied upon by the SailGP crews Image courtesy of SailGP

Riedel’s all-IP SmartPanels at the 2022 Singapore Formula 1

The Riedel APAC team united at BroadcastAsia

INTELLIGENT AV

Experience the future of AV firsthand at Integrate 2024

Explore the frontiers of intelligent AV innovation, where AI powered products, real-time video analysis, intelligent displays, and advanced recognition technologies are revolutionising immersive experiences. Discover the evolution of smart buildings, digital signage, cutting-edge audio, and how faster networks are reshaping AV content interaction.

Witness the transformative power of AV at Integrate, Australia’s premier AV technology showcase, from August 21-23 at the ICC Sydney.

integrate-expo.com.au

Two becomes one for Nexadyne NEWPRODUCTS

Labelling the release as ushering in “a new era of vocal precision”, Shure has launched the Nexadyne dynamic microphone platform, a series of vocal mics that integrate dual capsule technology the company has branded Revonic

THE NEXADYNE series includes cardioid (Nexadyne 8/C) and supercardioid (Nexadyne 8/S) models, which are physically distinguished by the fact that the cardioid model has two “pillars” on the grille (front and rear), while the supercardioid has four (front and rear, left and right). Connection is via standard XLR and each unit ships with a protective zipper case, mic clip and brass stand adapter. Wireless capsules are also available in black and nickel and in both polar patterns.

The use of two separate matched transducers inside the capsule is said to provide several benefits as they work together to provide a greater range of acoustic optimisation, maximising specific frequencies while minimising unwanted noise, especially handling noise. By wiring the two capsules out of phase, the mic is able to cancel out mechanical vibrations, removing self-noise and the need for a traditional pneumatic shockmount. Taking handling noise out of the equation then means that the two capsules can be optimised solely for acoustics, with the manufacturer claiming this results in twice the

amount of signal processing opportunity. It also allows for the summing of certain frequencies and subtraction of others to impact the polar pattern across a range of frequencies. According to Shure, sonically, this results in HF performance more typical of a condenser microphone, as well as a warmer and fuller midrange in the supercardioid model.

Targeted at streamers, podcasters and musicians, the manufacturer has also extended its family of hybrid XLR and USB dynamic microphones with the launch of the MV7+ podcast microphone. Sporting a sleeker design and software upgrades, the MV7+ is designed to capture broadcastquality audio in challenging spaces. An integrated DSP engine incorporates a suite of features. Removing the requirement for a physical pop filter on the camera, a Digital Popper removes harsh plosives sounds to avoid acoustic distraction. Auto Level Mode automatically adjusts the microphone gain based on the distance, volume and room dynamics. In addition, Onboard Reverb offers a selection of plate, hall and studio reverb settings. Working in harmony with the

microphone’s Voice Isolation technology, the Real-time Denoiser eliminates background noise in compromised recording environments. Beyond the DSP, the live meter of the customisable multi-colour LED touchpanel allows the user to instantly mute the microphone.

The MV7+ integrates with the Motiv Mix Desktop App for configuring all aspects of the MV7+. Shure’s latest Motiv software control interface provides multitrack recording, streaming and routing. The platform’s LED panel can be customised, offering access to up to five multitrack recording and routing channels and gain amongst others. For recording or monitoring the livestream’s mix, the multichannel mixer controls multiple audio channels. Equipped with hybrid XLR and USB-C outputs, the MV7+ connects with a laptop or phone.

Lastly, the manufacturer has announced that its Microflex Wireless neXt 2 (MXW neXt 2) Microphone System has been Certified for Microsoft Teams.

www.shure.com

DPA takes to the AIR1

INTENDED FOR quick mounting on round, omnidirectional headset or lavalier microphones between 2.5–5.8mm in challenging

capsule to maintain a constant air volume. By adding a boundary surface directly behind the capsule, a pressure field is generated around

Sennheiser streamlines its headsets

inner lining, the fur contributes to wind rejection while maintaining acoustic transparency. Secondly, by adjusting two arches and a mic stop, the air cavity surrounding the microphone ensures that the fur is spaced away from the

complement most apparel, six colour options are available: black, brown, beige, white, off-white and grey.

www.dpamicrophones.com

PRODUCED FOR applications, Sennheiser has designed a portfolio of streamlined headsets with a choice of five separately available cables. Featuring improved speech intelligibility, the open HMD 46 (dynamic mic) and HME 46 (electret mic) headsets are ideal for intercom use. Incorporating Sennheiser’s switchable ActiveGard (off/95dB/110dB), the closed, supraaural HMD 26 and HME 26 headsets are targeted for OB applications. Differing from traditional acoustic shock clipping circuitry, ActiveGard is an added safety feature that protects the wearer’s hearing from sudden sound bursts without

Additionally, both available as singlesided “S” versions. Combining monitoring accuracy in loud environments with comfort, the HMD 27 and HME 27 are the circumaural models. The HMDC 27 is additionally fitted with NoiseGard active noise reduction. The closed HMD 300 ActiveGard headset used for backstage communications has been upgraded with a new dynamic boom mic and arm. It is also available as single-

Classic tones from vintage mics

US PRO audio manufacturer Warm Audio has unveiled recreations of two classic mics with the introduction of the WA-44 studio ribbon mic and the WA-19 dynamic microphone. The WA-44 features a vintagematched ribbon and magnet together with a CineMag transformer to deliver the tones of the iconic RCA 44 ribbon mic of the 1930s. Sporting what Warm Audio describes as a “boutique-quality build design”, the WA-44 pairs a full-length, 99.1% aluminium, custom-crafted Japanese ribbon with a heavy, true-to-size neodymium magnet powered by a US-made CineMag transformer. The WA-44 weighs 2.8kg and includes a Star-Quad shielded Gotham XLR cable connector and embroidered case.

Stick around with RØDE

AUSTRALIAN AUDIO expert RØDE has introduced a trio of products designed to help broadcasters and content creators up their output. The Interview PRO is a broadcast-quality wireless handheld microphone designed for a wide range of applications. Utilising 2.4GHz digital transmission with a 200m line of sight range, it pairs with all RØDE Series IV wireless receivers including the Wireless ME, Wireless GO II, Wireless PRO, RØDECaster Pro II and RØDECaster Duo. It features an omnidirectional condenser capsule, 32-bit float onboard recording and intelligent GainAssist technology, while its rechargeable lithium-ion

Meanwhile, the WA-19 aims to revive one of the popular studio and live dynamics of the 1960s. Featuring a custom, hand-assembled dynamic cardioid humbucking capsule in a rugged metal design, the WA-19 blends the critical noise rejection and reduced proximity effect of a dynamic mic with the clarity and detail of a condenser. It boasts a variable acoustic high-pass filter ring that cuts up to 10dB at 50Hz, while the

Additionally, ventilated slots on the side of the WA-19 body reduce proximity effect, eliminating boomy bass associated with placing the mic closer to louder

Warm Audio has also launched the Warm Lifter, an inline active microphone preamp designed for low output dynamic and ribbon mics which offers 26dB of clean output gain, a selectable 100Hz high-pass filter to remove low-end frequencies and a selectable 3kHz high-shelf boost to emphasise the upper-mids

and comes with three removable attachments: short and long cold shoe arms for shooting in landscape or portrait mode, plus a long arm with a ¼-inch thread for mounting to a tripod, handle or desktop arm. The RØDE Phone Cage is a magnetic mobile filmmaking cage which also features an ultra-secure magnetic mounting. Made from lightweight aluminium, it comes with five cold shoe mounts for mounting accessories such as microphones and lights, and both ¼-inch and 3 8-inch threads to enable the connection of handles and tripods. It also features built-in cable management slots.

www.rode.com

A-T extends 20 Series

blue to indicate that the microphone is receiving USB power and lights red when audio is muted at the microphone. The LED indicator also blinks when peak audio level is reached.

Core strength

DYNAUDIO HAS added a compact monitor and a subwoofer to its Core reference speaker family. The Core 5 studio speaker has been designed specifically for smaller studios and immersive setups. It has a twoway nearfield design for cramped spaces in a stereo configuration or can provide width and height support in an immersive setup. It delivers 116dB maximum SPL at 1m, has a flat bass response down to 45Hz at –6dB and 51Hz at ±3dB, and it provides 280W of Class-D amplification into a 5-inch woofer and 1-inch tweeter. Like the rest of the Core range, the Core 5 has a set of filters that compensate for position and boundary locations, such as meter bridges, stands and soffit mounts, and features a lowfrequency 80Hz Linkwitz-Riley cutoff for use with a subwoofer. Sound-balance tilts enable users to fine-tune performance, while full-spectrum band-pass filters mean phase response is maintained between the drivers.

Meanwhile, the Core Sub Compact reaches down to 16Hz, delivers 115dB peak half-space and uses 280W of Pascal amplification for each of its twin drive units. Both speakers use the same amp module and DSP engine for customisation, providing total consistency with the rest of the Core family, regardless of the combination of speakers used.

www.dynaudio.com

with third-party devices. A-T LINK also offers efficient system audio routing and control within the ATDM Mixer Web Remote.

www.audio-technica.com

Keeping busy

RF SPECIALIST Wisycom has added a number of wireless and distributed antenna systems to its growing catalogue. The MRK16 is a modular wireless microphone receiver system that can manage up to 16 true diversity channels in a 1U chassis and can be daisy-chained up to four times for 64 channels of audio. It can accept up to four MCR54 receivers, providing antenna distribution, RF filtering and advanced audio routing, while the ultra-wideband receiver system operates from 470–1,260MHz and is equipped with 10 automatically selected band-pass filters. RFover-fibre functionality provides reception over distance, while an optional EX3 fibre module and BFLT1 transmitter reportedly make it possible to place antennas miles away. The MCR54 is a four-channel true diversity wireless microphone receiver system with modular or slot-in configurations that are compatible with most cameras and mixer accessories. It features up to 790MHz bandwidth in the 470–1,260MHz range and features both wideband and narrowband DSP-FM operation that is SW selectable. The company says this allows 50% more band efficiency and 3dB extra sensitivity and noise immunity.

Finally, the BFLR1 receiver and BFLT1 offer a way to support RF coverage and distribution requirements without concern for cable loss. The BFL interfaces feature selectable filters, extended dynamic range and a long-range Bluetooth 5 programming link, and provide connectivity options for wireless IEM/IFB and wireless mic applications.

www.wisycom.com

BELGIAN LOUDSPEAKER manufacturer

Audiofocus has announced the launch of its Isolde AP108 range of two-way, 8-inch

monitor. A bespoke 3D printed waveguide ensures rigid 90° x 60° coverage and can be quickly rotated according to the application.

transducer incorporating Tetracoil voice coil technology to achieve a peak SPL of 129dB. The neodymium magnet 1.4-inch exit HF transducer has a 2.4-inch voice coil and is from the same family as the drivers employed in the company’s recent column PA and constant curvature series, ensuring a uniform audio signature across the Audiofocus range. The AP108’s design allows it to be deployed vertically or horizontally or placed onstage as a wedge

leading ceiling mounts and can be wall-mounted with the aid of a horizontal or vertical bracket. The AP108ix is designed for integrators working in hospitality, education, worship and other applications that demand a compact and visually unobtrusive package. The cabinet measures under 50cm high and Audiofocus says it can provide weatherised options and custom colours to mirror a client’s palette. www.audiofocus.eu

BFLR1

Isolde AP108

1 Sound elevates to higher levels

COMBINING HIGH power with a minimal footprint for live performances, 1 Sound has designed the CM38 cardioid floor monitor. Measuring 200mm high, the birch plywood enclosure can produce a maximum SPL of 130dB down to 60dB bandwidth. Comprising three 8-inch drivers, one of which is a coaxial with a proprietary progressive horn design, the three-way passive loudspeaker can musically cancel

80° for a listener standing near or above the monitor, down to 40° as it throws far across the stage. By reducing stage spill and directing the energy where required, the bi-amplified CM38 maintains a cleaner sound environment passed the monitor and more pronounced high frequencies towards the sides. A progressive horn design has been included to control the frequency equalisation in the field and maintain higher

LD Systems

ALL THE world’s a stage with the battery-powered ANNY PA system from LD Systems. Designed for musicians, singer-songwriters and street art performers, the ANNY 10 is an active, two-way, full-range portable loudspeaker which combines a 10-inch woofer and 1-inch tweeter with an integrated six-channel mixer, three-band EQ and effects, Bluetooth 5.0 streaming and a footswitch input for hands-free effects control.

Also available as a set with up to two wireless microphones, the ANNY 10 has two rear slots for receiver modules with their own volume control and sync function, which can be retrofitted separately if required. Users can choose between handheld wireless microphones or headset microphones including bodypack transmitters, or a combination of both. The ANNY 10 features a DSP Vocal mode for voice applications, while users can also specify which connected microphone should be prioritised. As soon as the selected microphone is used, ANNY ducks the volume of all other signals. In addition, True Wireless Stereo functionality allows any two units to wirelessly connect to provide powerful sound for larger events.

Utilising hardware integrated into the cabinet, the full-range monitor is also available as a loudspeaker, with the L38 marking the first stop of the Level Series. The low-profile, triple 8-inch design displays the same passive cardioid behaviour as the CM38, whereby the central coaxial woofer incorporates a proprietary progressive horn. Adding to its multipurpose credentials, the Level L38 can be flush-mounted onto a ceiling or 2.5–5m up on a wall, which covers approximately 90° below the loudspeaker. This is ideal for listeners directly underneath, whereas the cardioid behaviour minimises low-/mid-frequency reflections onto the ceiling. Like the CM38, the Level L38 is available in various colours and finishes and operates within a 65Hz–18kHz (–6dB) frequency range.

www.1-sound.com

WITH ATEO, Audac has released a series of surface-mount loudspeakers for

100Hz–20kHz, the ATEO4M is a 4-inch version comprising a 1-inch dome tweeter and a 4-inch mid-/low-frequency driver.

With a rated sensitivity of 86dB (1W/1m), the 35W RMS (AES) model comes in 8Ω (ATEO4M) and 16Ω (ATEO4DM) versions. Measuring

Available in black or white, cabling connects to the integrated WAGO connectors on the rear panel of the IP-66-rated ABS housing where an external power tap selection switch is also

The RMA45M is an adapter for assembling ATEO4M loudspeakers on lighting track rails in retail environments for inclination in any direction. A mechanical connection is provided, without having any electrical connection between the loudspeaker and the lighting track rail.

The ATEO Series has been extended with a 6-inch version, in the form of the ATEO6M. The larger-format enclosure comprises the same features. Both the 4- and 6-inch models can be equipped with extension mounts with inclination angles. With the inclusion of a WMA series incline bracket, an extra 30° angle can be added to the existing incline angle of ATEO speakers. It can also be used to place the speaker horizontally or vertically at an angle up to 60°.

Wheels and a telescopic handle promote portability, while connection options include two microphone/line combo inputs, a

The Belgian brand has also unveiled the VEXO208 three-way loudspeaker. Operating within a frequency response of 62Hz–20kHz (–3dB), the VEXO208 incorporates dual 8-inch coaxial woofers, featuring 1.8-inch voice coils. Compression driver overload protection is provided through an internal limiting circuit. With a rated sensitivity of 94dB (1W/1m), the 400W RMS (AES) model operates in 4Ω impedance, but an optional 70V/100V line transformer is available to use in Hi-Z systems. Weighing 17kg and constructed of 15mm plywood, the 136mm x 244mm x 153mm (WxHxD) polyurethane-coated cabinet is equipped with a powder-coated steel grille. Equipped with two M6 and two M10 brackets, mounting in both horizontal and vertical directions is possible with

ATEO4M

Holoplot products implemented into EASE 5

THE INCLUSION of Holoplot advanced loudspeaker systems into the latest EASE 5 update allows users to experiment with Matrix Arrays in a desired venue. Regarded to be the standard for electro and room acoustic modelling, the EASE software developed by AFMG Technologies contains over 150 brands of loudspeakers and 3,000 individual products. Providing a view of SPL simulations, Holoplot’s Matrix Arrays and Beam Optimisations can be modelled in the company’s Plan system design software. The resulting configurations can now be exported to EASE 5 for analysis based on closed-room simulation.

The addition of the room simulations with EASE 5 enables all closed-room performance

metrics such as diffuse field, STI and auralisation predictions to be accurately obtained and easily compared with any product from the 150 brands contained in the EASE 5 Library. Objective validation is another benefit of using a brandindependent software to model speaker systems and room acoustics.

The additional performance requirement for Holoplot simulations in the design of The Sphere can now benefits all users. A 64-bit version of the calculation engine utilised by the German brand, as well as other advancements, are now available to all users regardless of their loudspeaker choices.

www.holoplot.com

Performance out of the GH8

DESIGNED FOR live performances, events or installations, the GH8 slim array element from Italian speaker specialist KGEAR is a passive loudspeaker that the company says performs even in challenging acoustic environments. Featuring an 8-inch fullrange driver with dual-cone, the GH8 has a frequency response of 120Hz–18kHz (–6dB), a max SPL of 128dB peak and a power handling of 200W. The compact 220mm x 220mm x 160mm enclosure is said to offer a unique cabinet design that delivers a much lower emission on the backside of the speaker to improve sound control and prevent loss of energy, and is also IP64-rated to ensure durability. The company says that multiple GH8s can be joined together with www.kgear.it

CPS Series expands

PROVIDING COVERAGE for mediumsized events and large fixed installations, Lynx Pro Audio has expanded its Coaxial Point Source (CPS) series of enclosures with the CPS-210 and the CPS-14. The CPS-210 enclosure is a compact 3,000W tri-amplified three-way system. It features two 10-inch neodymium speakers and an

and adjust different parameters such as gain, delay, input EQ and cabinet presets. Both enclosures have two Ethernet ports that allow them to be controlled through the OCS platform to facilitate monitoring and processing which, together with the Rainbow 3D electroacoustic prediction software, offers a complete design tool.

Optimal optimises Up

DESIGNED TO complement a wide range of interior designs across commercial spaces, Optimal Audio has revealed bezel-less grilles and pendant housings for the Up Series of ceiling loudspeakers. According to the British manufacturer, the accessories remove the need for stocking separate ranges of ceiling and pendant loudspeakers. Available in black or white finishes, Grille 1 and Grille 2 are designed

installation ring with a twist-to-fit steel grille design can enclose the original Up loudspeaker.

Pendant 1 and Pendant 2 are custom housings for accommodating selected Up ceiling speakers to be suspended as pendant speakers.

Manufactured from UL94 V-0 rated materials and finished in UV-resistant black or white paint, the pendants feature the same twist-to-fit grille bezelless finish as the Grille accessories.

exclusive 1.4-inch coaxial compression driver. The CPS-14 enclosure is also a 3,000W tri-amplified three-way system, but features a single 14-inch neodymium speaker and a 1.4-inch dual-diaphragm coaxial driver. Both provide 90° x 60° and 60° x 40° coverage options and, in common with the rest of the CPS Series, both feature integrated 64-bit/96kHz DSP with FIR linear phase filtering. To manage their internal DSP options, the rear panel boasts a 2.8-inch IPS UI, while a joystick control allows the user to control, select

The Series is completed with two ultracompact passive enclosures, the CPS-5 and CPS-4. Easy to set up and transport, they are designed to deliver clear, balanced sound in short throw applications and are suitable for indoor installations and as background sound reinforcement. The CPS-5 has a 5-inch coaxial speaker and a 70° conical dispersion, while the CPS-4 has a 4-inch coaxial speaker and a 90° conical dispersion with no secondary lobes throughout the frequency range.

www.lynxproaudio.com

producing a peak SPL of 133dB, the line array element incorporates a passive crossover to provide a linear response

Measuring 428mm x 223mm x 499mm and weighing 26.4kg, the compact trapezoidal loudspeaker is housed in a 15mm birch plywood construction in a touringgrade finish with a 1.5mm steel grille. Treated with a proprietary Aquaforce weatherresistant coating, the internally braced cabinets are fitted with two handles, a pole adapter and an integral heavyduty, four-point steel rigging system consisting of 10 angulation points (0–10° internal splay angles in 1° steps) to promote both stacked and flown configurations. The rear panel includes NL-4 and PowerCON Neutrik speakON connectors. In addition to dedicated transport and storage accessories, a flying frame adds to the multipurpose functionality of the cabinet.

www.ideaproaudio.com

STUDIOMASTER HAS widened its FOH loudspeaker portfolio with the addition of four active loudspeaker series. Designed for DJs, small bands, presentations, education and houses of worship, the DIRECT MX series is an all-in-one column array PA with a 2,000W built-in amplifier. Available in two system configurations, the DIRECT MX series is a 6x 3-inch midfrequency/1x high-frequency 1-inch compression unit-armed column array. It can be paired with a compact 10-inch reflex sub enclosure to create the DIRECT 101MX or a 12-inch reflex sub enclosure for the DIRECT 121MX. With a complement of onboard power and control features, the DIRECT MX series can function as standalone sound reinforcement independent of outboard equipment. The mixer has two mic/line inputs with discrete gain and reverb controls, one Hi-Z instrument jack input and a stereo input on L-R phono connectors or Bluetooth 5.0 for external playback sources. A 24-bit DSP with a onecontrol encoder offers three pre-configured operating modes, a three-band master EQ, gain control, high-pass filter, dual-channel limiter and recallable user-programmable presets. An XLR mix output operates in combination with a digital delay line of up to 100m to provide time-aligned configuration of several DIRECT MX column arrays within larger venue spaces. An independent sub level control is also included. Meanwhile, the VORTEX series is Studiomaster’s latest iteration of the active two-way, mid/top portable PA format. Its latest V-series active line array systems are the V26, comprising the V26A horizontal array element and V26SA compact 15-inch sub, and the V6A. The V26A is loaded with two vertically aligned 6.5-inch MF drivers and a waveguide-mounted multi-drive HF array of eight 1-inch transducers. It delivers 120° x 8° (HxV) coverage and its narrow form factor provides coverage for smaller

venues or spaces presenting challenging in-fill requirements. Integrated dual-channel power amplification delivers 400W MF and 150W HF power, making the cabinet capable of up to 129dB SPL. The A26SA has a 1,200W power amplifier with a near identical SPL and LF response down to 40Hz. Alternatively, the V6A presents a more conventional line array element profile with two 6.5-inch MF drivers loaded on either side of a 3-inch HF unit. Combined with its 2,000W powered V6SA compact 15-inch sub, its 550W onboard two-way power amplification and 132dB max SPL make it suitable for small and mediumsized venues and events.

www.studiomaster.com

punQtum streamlines with Bolero Connect

DIGITAL INTERCOM brand punQtum has developed a direct connection to Riedel’s Bolero wireless intercom system. Operating in tandem with punQtum’s Q210 P speaker station, Bolero Connect offers a costeffective solution for deployment across large-scale events requiring several channels of partyline.

The Bolero Connect feature works as a single network connection between punQtum’s Q210 P and Bolero. Prior to its development, should more than two channels be specified, added equipment including three speaker stations and

an NSA interface were required. Expanding the communication capabilities of large-scale events, six partyline channels can integrate from one punQtum Q210 P station to Bolero. Eliminating the need for labelling, Bolero Connect includes a time-saving channel name feature in which the software passes channel names between both systems, leading to a properly integrated, reliable communications system.

www.punqtum.com

www.riedel.net

Taking everything in its Stride

THE STRIDE Antenna is the first product to be announced in Green-GO’s Stride wireless series. Claiming to be a big step forward in the comms market, the IP53-rated Stride Antenna delivers seamless roaming, greater DECT spectrum efficiency and increased user mobility without affecting the range or the audio quality of devices on the network. It is compatible with existing Green-GO WBPX wireless beltpacks, while its higher DECT device density enables more WBPX beltpacks to be used simultaneously within the same area.

Green-GO says that the consistency of coverage is enhanced within an area as DECT time slots are automatically synchronised across multiple Stride Antennas via PTPv2.

This delivers seamless roaming by removing any “handover gaps” between areas covered by unsynchronised antennas and enables a Green-GO system to make full use of the available DECT spectrum. Device pools can include up to 250 Stride Antennas and 100 wireless beltpacks, while each Stride Antenna can accommodate up to five simultaneous WBPX connections. The antenna UI displays configuration information, an LED indicator shows device status and extended RF monitoring

available on both the wireless beltpack and via Green-GO’s Control software. A DECT antenna analyser mode also allows users to keep track of DECT spectrum utilisation.

www.greengodigital.com

CODA Audio launches more craft into Space

CODA AUDIO has expanded its Space by CODA range with the addition of the SB12 (Space Bass) subwoofer. The German brand’s Space by CODA technology transforms spaces with highly discreet

audio using innovative ultra-flat modules positioned within art and projection screens, complemented by subwoofers in the form of display pedestals.

Offering the same art and sound pedestal appearance as the range’s existing sensor controlled SCX 18-inch subwoofer, the omnidirectional SB12 is a more compact 12-inch version for applications requiring a smaller footprint. Without sensor control and tuned to operate with the single-channel Linus 6.4 amplifier, the 16.3kg subwoofer incorporates a neodymium woofer within a 330mm x 700mm x 300mm cabinet. Operating within

the work of five talented artists whose original artwork can be directly incorporated into schemes and matched to Space panels via a drag-and-drop function. The Gallery will be expanded in the future to showcase more exclusive creations by a wider range of artists. Customers preferring to use or commission their own artwork can do so by uploading it to Space Designer and using the same drag-anddrop function.

www.codaaudio.com

SB12 and SCX

EAW reveals UXA4416 DSP amplifiers

amplification, digital processing and analogue-digital management, the next-generation platform of four-channel DSP amplifiers has been developed by EAW. Designed to pair with the US brand’s KF and SB Series products, the UXA4416 amplifier offers stability for KF passive line source systems in addition to

clean power to all EAW passive loudspeaker systems.

Representing an evolution of the previous UX and UXA Series, the UXA4416 operates at 96kHz and provides improved system interoperability and a reduction in latency.

Four-channel (4,000W per channel) Class-D amplification and 40-bit floating point DSP

further enhance the power headroom capabilities.

The integrated processing platform includes a dedicated Greybox library of UXA4416 amplifier presets of all the supported EAW systems. A front panel 4.3-inch display offers touchscreen or tactile encoder access to the EAW library and editing. EAW factory presets use EAW’s

Beamwidth Matched Crossover, Focusing and DynO technologies, resulting in a refined system impulse response to a chosen speaker system. The UXA4416 incorporates both analogue and digital audio input connections, including configurable GPIO and Dante connections.

Resolution software provides a path to remote management and amplifier grouping of an entire EAW speaker ecosystem. Providing support for the UXA4416, the Resolution 2.11 update improves the software’s GUI and Array Assistant, adds efficiencies to the RSX/NTX firmware upgrade and updates the voicing of the KF210. An updated version of AC6 firmware is also available.

www.eaw.com

LEA Professional launches Cinema Digital Series

LEA PROFESSIONAL has unveiled its Cinema Digital Series of IoT-enabled smart amplifiers which join the company’s technology catalogue featuring intelligent IT solutions and smart power management. The series consists of nine models with support for two or four channels with power ranging from 350–1,500W per channel. All models can integrate with the Dolby Cinema Processor CP950 and include AES67 primary and secondary inputs, analogue backup inputs and the ability to accept AES67 feeds directly from a CP950 without requiring additional hardware, ensuring connectivity and flexibility.

The company also provides international customers with a six-year warranty. As with other LEA amplifiers, this series features a tamper-resistant design which eliminates front panel controls and boosts security, while user

Fair warnings from RCF

AVAILABLE IN two-, four- and six-zone versions, RCF has launched the MXR 4500 amplifier master unit as part of the DXT 4000 voice alarm system. Dedicated to small and medium-sized applications where an EN 54-16 certified system is required, the 4U rack-mountable unit is equipped with Class-D power amplifiers. Providing up to 500W of total power, a spare power amplifier

microphone consoles, together with BE 3806 button extensions, can be added to enable live announcement functionality. In addition to the integrated MP3 player, external audio sources can be connected via a 3.5mm input on the front panel and an SD card slot allows emergency messages to be stored and monitored.

With the DXT 3000 Planner, RCF has

interfaces such as WebUl and SharkWare expedite installations.

All the Cinema Digital Series amplifiers have three connectivity options: wired, access point and Wi-Fi. Users will also have remote control and monitoring abilities due to the LEA Cloud which allows them to receive notifications and monitor projects remotely.

www.leaprofessional.com

include a 100V line calculator and automatic document creation.

Combining system control, line array design and detailed audio measurements, the RDNet management and monitoring software platform has been updated with an improved interface. With RDNet version 5.0, seamless workflow and grouping of self- and externally powered systems are now available. Further features include optimised drag-and-drop hot-plug device discovery and a function to simulate EQ response over phase/magnitude measurements. A new cloud infrastructure is available to recall projects and measurements remotely.

The Italian manufacturer has also boosted its range of installation subwoofers with the addition of the S19 and S29 models. Incorporating RCF’s latest transducer technology, the company says that both subs’ 19-inch cone size inherits the best characteristics of the traditional high-speed 18-inch and the slower 21-inch models. With lightweight aluminium core coils, high-damping cellulose cone material, composite spiders and a four-layer inside-outside voice coil, the ultra-long excursion moving mass (2.5-inch safe peak-to-peak) gains high power with fast acceleration.

Handling up to 1,500W, the S19 features a single 19-inch subwoofer suitable for RCF installed sound systems. The bass-reflex

design ensures an efficient acoustic response down to 30Hz and delivers 139dB max SPL. Meanwhile, with up to 3,000W power handling, the S29 is a double 19-inch subwoofer

S19

ensuring an acoustic response down to 25Hz. It is capable of delivering 143dB max SPL. Both cabinets are finished with a black, heavy-duty polyurea coating which provides waterproofing and corrosion protection, and a powder-coated metal grille. Both also have a recessed input panel with two speakON NL4 connectors, a M20 pole-mount adaptor on top of the cabinet and handles on both sides. The subs can be ground-stacked and are cardioidarrayable for improved rear rejection.

www.rcf.it

Atlona switches things up

Designed for very fast data transfers and device charging, the USB CC 3.2 Gen 2x2 cable supports data transfers up to 20Gbps and charging up to 5A current. It enables video transfers up to 4K@60Hz Ultra HD resolution and audio transfers. A flexible PVC outer jacket and double shielding offer protection against external interference and the USB-CC cable is downwards compatible with previous USB specifications. Meanwhile, the Klotz USB AC 3.1 super speed cable supports data transfers up to 10Gbps and charging up to 3A current. It also features a robust PVC outer jacket and double shielding and is also downwards compatible with previous USB specifications. The high flex VDU073LP is a robust video cable that can handle transmission distances of up to 36m with UHD 12G video signals, and all in accordance with the ST 2082 specification. The compact cable has an outer diameter of just 5mm and a robust PUR jacket, while its concentrically stranded copper inner conductor with gas-injected foam PE dielectric and tinned copper braid ensures consistent transmission

As part of Klotz’s VU07L premade cable series, the VDU073LP combines all the qualities of the Klotz VDU073LP high flex 12G UHD video cable with connectors from the BNCpro, BNCslim, BNCmicro

switcher, such as an instructor’s lectern in the contact closure or automatically when a school public address announcement is detected, both models are designed to ensure lesson material and announcements are heard clearly. Other audio capabilities include an onboard mixer for combining three line inputs, de-embedded HDMI and USB audio, as well as two 25W amplifier and line level outputs. Both support switching between two host devices and include a four-port hub for connecting cameras, speakerphones, interactive displays or other peripherals.

Automatic display control and auto-switching allow the automation of system operation over Ethernet, serial and trigger ports, or they can be integrated into environments with an Atlona Velocity control system.

www.atlona.com

applications, including broadcast, camera remote head, stabiliser, gimbal and steadycam, as well in industrial applications.

Manufactured with DigiWire multicore cable and with a conductor cross-section of 0.22mm² (AWG 24), Klotz over long cable runs, the DXC Loom offers a choice of four or eight balanced digital cables. Meanwhile, the SUC Universal Loom offers a choice of two, four or eight balanced audio wires and is suited for both digital and analogue signals – one loom for all applications. Featuring black chrome-plated XLR 5p connectors (XLR 3p connectors on the SUC Universal Loom), channel labelling is applied using abrasion-resistant XLR laser engraving. The layer stranding of the elements to both cable cores maintains their structure even under high loads, while an aluminiumcoated foil (PiMF) protects the individual pairs from electromagnetic interference. Both sets of looms are available in cable lengths from 1.5–20m.

Tasker heads to sea

IN COLLABORATION with the main suppliers of international shipyards, Tasker continues to invest in research and development of products that are suitable for installation on pleasure boats of all sizes. The types of cables normally associated with naval installations are low smoke zero halogen (LSZH) products. Currently, the naval sector does not have to adhere to CPR regulations, which were created exclusively for fixed installations in buildings, although cables that are chosen for boats have been approved for the average fire risk (Cca) because they guarantee greater safety to the whole boat. For this reason, Tasker is continuously expanding its range of CPR-certified products. In the audio sector, the Italian manufacturer’s multi-pair cables such as the

www.klotz-ais.com

LSZH and the C862. For video, the company offers a full range of products, starting from the small RGB75 LSZH up to the TSK1080 LSZH which can be used for the transmission of 12G-SDI 4K signals up to

Finally, Tasker is focusing on the growing importance of LAN cables. With updated transmission protocols, LAN cables can be used to transport a multitude of different services with a single cable, whether it’s audio, DMX, video or data. The manufacturer offers cables that come with an extraresistant but highly flexible polyurethane sheath, along with braided shielding and stranded copper formations, namely the C725 PUR (Cat5e), C728 PUR (Cat6a) and C726 PUR (Cat7).

www.tasker.it

On reflection

LAWO HAS announced a number of updates to its mc² range of consoles and A UHD Core platform. The introduction of a Mirror Console mode to the mc²36 xp console is designed to be used in theatre, opera and musical applications, as well as remote production scenarios, and enables a second console in a separate location to reflect the changes performed on an mc²36 xp console in real time. The company has also introduced enhancements to the console’s ability to communicate with an external, HOME-managed control system (XCS). Both enhancements are part of Lawo’s v10.10 system release.

Other features include Granular Bus Isolation, which extends the granularity of isolating individual parameters from the console’s

member of the Home Apps family, the app is a server-based, agile audio engine. With a familiar feature set, it combines the flexibility of the Home Apps platform in terms of connectivity and scalability with the German brand’s audio processing quality.

Designed to be used with mc² mixing consoles, the app also represents a virtual mixing system wherever audio processing is required at short notice. Home mc² DSP’s primary purpose is to provide audio processing in situations where no A__UHD Core is available or for use in applications where the Home Apps realm is more practical. As an audio processing companion for converging video/audio production environments, the app incorporates the features from the A__UHD Core FPGA processing platform.

or absolute changes to be merged with a list of Snapshots, while a Console Surface Offline Mode/Snapshot Preview allows operators to temporarily disconnect the console surface from its processing core at the push of a button. While offline, the console no longer updates the DSP or preamp settings, while still sending and receiving MIDI, OSC, OASIS and Ember+ commands. Upon leaving offline mode, operators can choose to either revert the console to match the audible mix or push the console’s current settings to the audio platform. Finally, the mc²/A__UHD Core platform now provides support for zactrack tracking systems, and Lawo has also announced that Power Core Rev. 3 now supports 96kHz.

With the introduction of the Home mc² DSP App, Lawo has created a microservice-based equivalent of the A UHD Core. As the latest

The art of audio

US AUDIO specialist Wheatstone has unveiled products across two of its brands. The Audioarts Lyric DML 12 and Verse DML 8 are plugin-ready digital consoles with a 1-inch thick tabletop profile. Both provide USB direct-to-fader input for PCs, phones, players and other external devices, while the DML 12 also delivers Bluetooth connectivity. A WheatNet IP app is optional for direct digital output to a WheatNet IP audio network. Features include three stereo programme busses, AES3 inputs via RJ45, mic preamp and a built-in cue speaker, and complement the Audioarts studio line of headphone amps, talent stations, consoles and control surfaces.

Crestron powers up for more control

CONTROL AND automation specialist

of hardware processing functionality for reallocating subscription credits to any available Home App. It is also easy to “move” from one location, such as the production hub to an OB truck or a remote location. The app performs at the same low latency as its hardware companion, so that switching between the two is possible at the push of a button in the Home UI.

The app automatically scales with future CPU developments and can provide several thousand DSP channels where needed. With support for mono, stereo, 5.1, NGA immersive mixing formats and a flexible number of busses, the app can be stopped at any time, for freeing up server capacity and reducing power consumption.

Crestron has expanded its control portfolio to provide more control to more spaces with the introduction of Crestron Control for Zoom Rooms, Crestron VC-4 Virtual Control Server and Crestron Construct updates. Crestron Control brings multiple protocols and technologies into one unified system, and Crestron Control App for Zoom Rooms Software enables videoconferencing systems to natively use Crestron Control to expand its capabilities. It delivers control over everything from lighting, shades, AV solutions and peripherals on a single user interface, and even extends to the Zoom Rooms software platform itself. Crestron says the Control App for Zoom Rooms Software also provides users with flexibility; systems can be easily scaled and applications can be added based on the needs of the customer. It is

Meanwhile, the Crestron VC-4 Virtual Control software gives enterprise IT teams the ability to design and configure a room’s UC, AV and control solutions, and allows them to save those configurations and automate them in a fraction of the time. Extending its reach, Crestron has introduced a simplified version for medium to large-scale, time-sensitive projects. The Virtual Control Server 25 (VC-4SERVER-25) is licensed to support 25 rooms, with the ability to scale to 500. It is designed to manage control across floors, buildings and campuses such as higher education, government and enterprise environments. Finally, Crestron’s drag-and-drop Crestron Construct UI has additional authorisation support which allows Crestron Construct projects to be securely launched by users without requiring an additional login into the control system. Multi-resolution support has also been developed to improve managing multiple devices in the project.

www.crestron.com

Meanwhile, Wheatstone’s SystemLink FM MPX now benefits from Reliable Internet Stream Transport (RIST) connectivity for reliable transport over any IP link. It means SystemLink now transports FM MPX + HD/DAB reliably and at low latency across IP links of any capacity, whether as uncompressed or via optional μMPX codec. RIST also adds real-time error correction for reliably transmitting audio over the public internet and is available for Wheatstone audio processors, including its Layers FM audio processor software hosted on a local server or running on cloud data centres.

www.wheatstone.com

mc236 xp

Audioarts Lyric DML 12

Crestron Control

Catch the Mixbus Full STEAM ahead for education

FEATURING DOLBY Atmos native rendering, integrated SSL EQ and a host of feature enhancements, the Mixbus 10 is the latest version of Harrison Audio’s Digital Audio Workstation (DAW) and features a suite of tools designed for musicians, producers and engineers.

The Mixbus 10 introduces Dolby Atmos native rendering, enabling users to produce and publish music in Dolby Atmos. Features include object-based panning on each channel and it supports 7.1.4 monitoring on speakers or binaural on headphones. Meanwhile, the

Available in “Plus” and “Pro” tiers, the Mixbus 10 is built around Harrison’s True Analog Mix Engine (TAME). The company says that users not only benefit from the flexibility and convenience of a modern DAW, but also have access to the sonic character and proven workflow of Harrison’s consoles. The Mixbus 10 is equipped with Harrison’s four-band 32C Console EQ, complete with HP/LF filters, compressors and limiters, and faithfully reproduces Harrison’s tape saturation, bus compression and tone control features across every bus.

Mixbus 10 Pro integrates SSL 9000J four-band EQ, meaning that every channel can be switched between the SSL and Harrison EQ. Both tiers include the complete suite of Harrison’s XT plugins for Mixbus, as well as a Channelstrip gate which was previously only available on Harrison’s top-tier DAW which provides a dedicated expander/gate module on every input channel. The Mixbus 10 also provides pre/postfader switches on every bus send.

www.harrisonaudio.com

AtlasIED elevates to a higher Atmosphere with Dante

ATLASIED’S ATMOSPHERE audio processing and control platform has been enhanced by with the inclusion of 16x16 channels of Dante digital networking. Expanding the platform’s capabilities, the AZM8-D, AZMP8-DW 8, AZM8-D 8, AZMP4-D and AZM4-D four- and eight-zone signal processors are the first five products to include the Brooklyn 3 Dante module. Sources

and zones can be created using Dante network I/O, so that any input can be distributed via Dante for maximum flexibility. Audio network settings can be configured and monitored through the Atmosphere GUI.

UK PRO audio group Audiotonix is helping to engage the next generation of engineers with the introduction of the first and only Audiotonix branded product. The STEAM DJ mixer is a self-assembly kit designed to provide schools and education groups with a project based on real-world audio technology, to help develop STEM and audio engineering and mixing skills. Consisting of three printed circuit boards with individual through hole components that need to be soldered in place, it can be assembled into the supplied metalwork. USB 2.0 powered, it is safe to build and easy to use in any location, and is supplied with clear instructions and video content on how to build and use.

“With the help of our global partners, schools, youth groups and charities will be able to get kits at a heavily discounted pricing or for free,” said Audiotonix COO Helen Culleton. “The aim is to reinvest all the monies back into building more kits that will get into the hands of students who wouldn’t normally get access to

this opportunity. It’s a start, and our aim is to create further STEM and audio engineering initiatives in the future.”

www.audiotonix.com

Engineered with automation, the Atmosphere portfolio combines digital processors, amplifiers, graphical user interfaces, programming software and controls. The

enhanced interoperability, scalability and flexibility to a broad range of applications, including ballrooms and large meeting rooms. Intended for flexible spaces without a centralised AV room such as banquet halls and

RDL adds 4x4 mixing processor to its fleet

CONCEIVED AS a cost-effective network processor, RDL has added the RU-NMP44 for adding volume control, mixing, switching and ducking to existing network audio systems. Connecting with four Dante network inputs to six virtual 4x1 mixers, each mixer features individual zone control with source selection, assignable automatic priority ducking, selectable high-pass filters and level control for all inputs and outputs.

Controlled and configured using RDL Console software or other network remote controls, each mixer can be used as a source selector, a priority paging inserter and as a volume control. Each of the six virtual audio mixers operates independently with adjustable input signal attenuation and output levels from unity to off. The outputs from four of the mixers drive corresponding network audio channels, including Dante, and the remaining two mixers

operate line level +4dBu audio outputs. If ducking is used, one of

www.atlasied.com

The priority input is set to a defined level, and the remaining three inputs are each set to attenuate to a fixed level between –10dB and –64dB when a message is detected on the priority input. If hum is anticipated from the paging source, one of four high pass filters can be enabled.

Up to four mixing level preset configurations can be stored in the RU-NMP44 and activated by a network command. Powered from an external 24Vdc power supply, the RU-NMP44 is equipped to operate from a PoE-enabled network switch and will reserve power while being charged.

Measuring 146mm x 101mm (WxD), the 1U all-metal enclosure can be used operated as a free-standing device or it can be installed as a surface- or rack-mounted unit.

www.rdlnet.com

the AZMP8-DW features a unique wall-mounted cabinet that can be relocated and remounted where required.

Making the CUT

THE CUT-4 Logic Interface from Clockaudio is a compact hardware unit that gives users the ability to connect to a networked DSP or control system to customise, control and manage their entire audio environment. Designed to streamline installation and configuration with its plug-and-play platform, it is equipped with two gigabit Ethernet ports for daisy-chaining, facilitating scalability and integration, and accommodates up to four touch switches for system flexibility. Each touch switch port

Small is beautiful – and waterproof

CLAIMING TO be the smallest transmitter with an IP57 rating and a removable battery, the DSSM from Lectrosonics is a water-resistant digital bodypack transmitter that provides protection from dust and prevent water ingress for at least 30 minutes while immersed in water up to 1m. The all-metal unit has a removeable antenna with an SMA mount and a standard miniature three-pin locking input connector, and is available in three frequency tuning ranges: A1B1 (470–614MHz), B1C1 (537–691MHz) and 941 (941–960MHz). It uses the Lectrosonics LB-50 rechargeable LiOn battery from the IFBR1B and SSM product lines, which makes it compatible with existing charging bays like the CHS12LB50, CHS12LB50a and 40117 dual USB charger. Using the same menu structure as the DBSM family of transmitters, it also boasts a USB jack inside the battery compartment for firmware updates in the field. It is compatible with DSQD, DCHR, M2Ra, DSR, DSR4 and DCR822 receivers and is available individually with antennas, reversible belt clip, battery and zippered pouch. It is also available in “ZS” kits with the dualbattery USB charger (PN#40117). Introduced at the same time, the CHSDSSM four-bay charging dock can be used with any variant of the DSSM. This bay charges any mix of four units and/or LB-50 batteries, and can be connected to three additional bays so that up to 16 batteries or units in any combination can be charged from a single DCR5/9AU power supply.

Available on both Mac and PC and boasting a range of additional features, the V2.1 Wireless Designer software from Lectrosonics aims to make life easier for people working within the Lectrosonics portable receiver ecosystem. With recent updates to the Lectrosonics DCR822, DSR and DSR4 portable digital multichannel receivers allowing users to create, edit and share Tuning Groups with named entries, Wireless Designer V2.1 now offers the ability create, import, edit, save and export these Tuning Groups. In addition, the update aims to accelerate setup time for users of FlexLists in the Lectrosonics Duet digital IEM system by creating, importing, editing, saving and exporting these FlexLists. Both FlexLists and Tuning Groups can be created, edited and saved in offline mode, giving users the ability to prepare these lists in advance. Once connected, the lists can be deployed to the system hardware via network or USB, and then shared via infrared or microSD card with body-worn

Wireless Designer V2.1 also provides the ability to drag and drop frames (receivers or transmitters) within the session system stack in the tree view, and allows quick and easy re-ordering of the channels within a system and how they are displayed onscreen. Finally, the upgrade adds the ability to import and export scan files in .CSV format to make Wireless Designer more widely compatible with RF spectrum scanners and other frequency management software packages.

www.lectrosonics.com

features three logic inputs and outputs, providing a total of 12 per device. Connectivity for up to six devices on a single network can provide a total of 72 inputs and outputs per cable run. Engineered to work in harmony with the company’s range of LED buttons, it is easily installed with under-table mounting. Compatible with most DSPs and control systems, the unit has been designed with open API.

www.clockaudio.com

GatesAir extends the Flexiva GX family

SUPPORTING 2,000W of analogue FM in a compact 2U chassis, GatesAir has extended its Flexiva GX transmitter family with the Flexiva GX2K. Offering a strong power-to-size ratio for all six power levels, Flexiva GX transmitters adopt the latest LDMOS technology.

Enhanced by GatesAir’s third-generation PowerSmart transmitter architecture, the high-density architecture is incorporated within a compact chassis. All six GX models include an updated GUI with integrated audio playback and a supporting playlist manager.

Options include GPS receivers for single-frequency network (SFN) support and GatesAir’s Intraplex IP Link 100e module, which can be accommodated within Flexiva GX transmitters for direct IP connectivity of FM audio and data from the studio. Bypassing the requirement for auxiliary equipment, the IPL-100e also provides support for optional 10-band audio processing software. Available worldwide, the Flexiva GX family can be configured to serve large national or regional FM SFN deployments.

Hoping to encourage more broadcasters to transition out of the satellite space and embrace the benefits of the cloud for bulk audio transport, the latest version of GatesAir’s Intraplex software is designed to help broadcast networks and content syndicators manage local ad insertions through Intraplex audio-over-IP and cloud networking systems. The targeted advertising capabilities, enabled via metadata triggers within the software, are supported on the Intraplex Ascent cloud platform and IP Link 100c, 100e and 100n audio-over-IP codec

solutions. GatesAir claims broadcasters who are using satellite for bulk transport can reduce costs and maintain greater control by moving to a cloud platform such as Ascent. In a typical scenario, a customer’s Traffic Manager will interface with a headend-based IP Link codec or Ascent to trigger virtual metadata that activates local ads for network affiliates at defined times, and switch back to national programming at the end of the local ad break. Triggers are scheduled within the Intraplex platform, which automates delivery to all affiliates with no local manual intervention.

The company has also previewed wide-area audio networking applications for the Intraplex brand outside of the broadcast space, including the retail and hospitality markets. Powered through the new software release and managed through Ascent, applications include delivery of live audio streams and scheduled playlists to retail chains, hotels, restaurants and other businesses.

www.gatesair.com

DSSM

Flexiva GX2K

Intraplex

STEP UP

The next generation of ZLX portable loudspeakers brings you the best performance, features and connectivity at their price point.

LOADED

Pro feature set including app control/mixing, stereo streaming, customizable presets, effects, ducking and AFS (automatic feedback suppression).

ATND 1061 Bea mfor min g Ce i lin g Array M icrophon e

A Mic for All Meetings

The ATND1061 Beamforming Ceiling Arrary Microphone is a state-of-the-art, professional conferencing solution for meetings of any size - from boardrooms to classrooms. Up to 6 output channels and 32 user-defined pickup zones capture every person speaking in a room with clear natural audio that reduces distracting environmental sounds.

Tascam unleashes IF-ST2110 broadcast expansion card

compliments the existing range of Tascam

The gateway to more control

VERSION 2.7 of Powersoft’s ArmoníaPlus system design, control and monitoring software adds support for its Verso gateway device, and allows T and X Series, Mezzo, Duecanali and Quattrocanali amplifiers to be connected to Powersoft’s MyUniverso cloud platform. MyUniverso enables users to monitor and update their systems remotely across the entire Powersoft amplifier portfolio. The update also provides users with improved alarms and status handling for all MyUniverso supported devices.

Also included in ArmoníaPlus 2.7 is support for Dynamic Music Distribution (DMD) across

Audinate has released additions to Dante Connect, with features including remote contribution options, native Dante software integration, cloud deployment platform options and new

Dante Connect is a suite of software applications that facilitate cloud-based broadcast production. The system combines synchronisation of Dante audio with connectivity to centralised production tools running on cloud instances. Dante Connect adds WebRTC-powered remote contribution functionality to the existing uncompressed Dante audio transport streams. The remote contribution feature allows Dante sources which are connected to the internet worldwide to be captured as an audio source. This gives

Sustainable event management, in the cloud

HOPING TO transform the live event industry’s approach to sustainability, d&b group has launched SustainSymphony, a cloud-based Software as a Service (SaaS) sustainability management service. Claiming to be the first sustainability service tailored to the global live events industry, SustainSymphony is a comprehensive database designed as an event checklist. Suppliers and service providers can store their products and services on the cloud server so that other users can find their offerings when searching for sustainable suppliers. Users can enter Key Performance Indicator (KPI) data for events, services and venues, enabling them to calculate and improve sustainability measures for future events. Venues also have the option to add their annual sustainability data to the platform. Using this data, the platform calculates event-related emissions for an individual event, simplifying the data collection process and reducing workload.

Serving a wide range of stakeholders within the live events ecosystem, organisers can create accounts based on their specific role –

acoustic planners, consulting offices and sound engineers. As the industry’s leading electroacoustic simulation software, EASE 5

customers a new, lower bandwidth option to add a commentator or other audio stream to be broadcast.

This compressed source is transmitted using WebRTC functionality to improve quality without dedicated transmission lines. Paired with the existing remote monitoring functionality, broadcasters gain new options for production staff to monitor, contribute to and produce content remotely.

Additionally, Audinate has also joined the Google Cloud Partner Advantage as a partner in the build engagement model, enabling customer flexibility to deploy audio transmission and production with Dante Connect in Google Cloud environments.

www.audinate.com

the Unica series of installation amplifiers. DMD makes it simple to dynamically route music and other signal sources between different zones, and across multiple amplifiers, all independent of source location and without the need for a centralised DSP. The update also adds support for AES67 Raw SDP and Dolby Atmos Connect patching on Duecanali DSP+, Quattrocanali DSP+ and Mezzo A+ amplifiers. This allows for easier integration with AES67-compatible audio systems and ensures compatibility with Dolby Atmos configurations.

www.powersoft.com

ArrayCalc 11.4 enables users to export the XLD file format with an extended set of information to facilitate the transfer of relevant data from ArrayCalc 11.4 to EASE 5, allowing users to focus more on creativity and precision.

Version 11.4’s advanced XLD export feature is specifically for d&b system designs. The XLD text file includes the loudspeaker GLL type (e.g. XSL LA.gll) as well as positioning, orientation, delay and level information for each element of the sound system as configured in ArrayCalc. This enhancement streamlines the handover process with EASE 5, allowing users to import the comprehensive XLD file directly into the simulation environment. Meanwhile, for projects involving point source groups, each individual point source item within the group is also exported, ensuring accurate representation and simplifying complex simulations.

www.dbaudio.com

FORENSIC ENHANCE is the latest line of AAX/VST/AU plugins from CEDAR for forensic audio professionals. The platform replaces its existing Trinity Enhance plugin,

CEDAR rebrands Trinity Enhance to Forensic Enhance Q-SYS

renamed to reinforce the message that it’s designed for audio forensics rather than conventional postproduction or other pro audio uses. It retains the same simple but effective voice enhancement and the same GUI that makes it possible for novices to obtain results quickly and easily.

Surveillance recordings tend to have one thing in common: background and environmental noise reduces the audio quality, making the wanted speech hard to listen to or even unintelligible. To improve this, Forensic Enhance allows users to clean difficult material.

www.cedaraudio.com

ENHANCING THE Zoom Rooms interface for heightened control capabilities, integrators and IT users can now enable third-party room controls using the new Q-SYS Control for Zoom Rooms App on all supported Zoom Rooms controller consoles. Following demand, the app has been developed to enhance the Zoom Rooms controller by displaying a Q-SYS user interface and for controlling room devices and services connected to the Q-SYS Core processor, including displays, lighting, shades and HVAC.

The Q-SYS control engine offers fully customised two-way control with user feedback available directly from the familiar Zoom Rooms interface. Additionally, the app enables

Zoom Rooms to use the Q-SYS Ecosystem of Technology Partner Program for designing a customised Zoom experience.

www.qsys.com

access to Pulse upgrades, DiGiCo’s latest software update also includes KLANG KOS 5.5 integration of immersive IEM mixing systems. Designed for all SD and Quantum consoles, V1742 replaces previous version V1619 as a free download.

The installation of V1742 enables Quantum338 and Quantum225 owners to purchase DiGiCo’s optional new Pulse software extension, increasing input channels, busses, and Mustard and Nodal Processors. V1742 also provides Quantum7 and Quantum5 customers with additional Mustard processing.

KLANG’s KOS 5.5 upgrade permits standalone console integration without requiring a

DESIGNED EXCLUSIVELY for managing JBL portable PA speakers and systems, JBL Pro Connect V2 adds a number of features aimed at simplifying control over a full suite of mixer, DSP and Bluetooth features. V2 introduces a Demo Mode for exploring the app’s capabilities without being connected to speakers, enabling users to configure and save settings and presets offline, and load up saved preferences when connected to a Pro Connectenabled speaker. Meanwhile, Full Screen Mode enhances resolution for editing and adjusting faders, dynamics, EQ and FX sends, and Snapshot Language Support enables users to save snapshots in select local languages. The Android and iOS app also enables users to set volume and adjust EQ, activate Lexicon reverb, effects and dbx Digital DriveRack signal processing, and customise ducking to make sure voices stand out over background music. The app also offers a choice of pre-loaded presets for accessing popular control features like input EQ, dynamics, gates, limiters and chorus delay. Mix Out Pre/Post Fader support enables users to switch their Mix Out feature between pre- and post-fader to match their usecase scenario, while advanced Bluetooth Low Energy technology means users can connect and sync up to 10 JBL Pro Connect-enabled

Riedel

Pro Connect

is currently available for JBL PRX ONE, EON ONE MK2, EON700, PRX900 and EON ONE Compact speaker systems.

www.jblpro.com

separate KLANG control PC to run KLANG:app. Enhancements include a streamlined setup process that automatically detects the console to significantly reduce setup time. Other benefits include automatic console aux and aux node mapping/naming, together with an automatic show file load and save.

The V1742 release also provides support for operating an internal Fourier Interface Card. Furthermore, the software broadens compatibilities with two immersive audio platforms, by offering native worksurface control of Meyer Sound’s Spacemap Go and Adamson’s FletcherMachine. Offering support for a DMI-AVB card, further software update features include the addition of Mix Minus to Quantum consoles and the display of Mustard Dynamics on the Quantum meterbridge. In addition, Control Group and hard Mute indicators have been added to the meterbridge multi-layer view for the SD5, SD7, Quantum5 and Quantum7 consoles.

www.digico.biz

RIEDEL COMMUNICATIONS has expanded the RiCapture ingest solutions line with the addition of the i8, i44 and i84. Complementing the RiCapture i4, these additions increase channel density and UHD resolution, provide 8- and 10-bit support and expand internal SSD storage. Developed for scheduling, streaming and exporting from the SSE interface, the RiCapture series can be applied for multichannel HD/UHD ingest recording and postproduction integration. The SSE control application includes selection for highresolution DNxHD/R, H.264 or a combination of the two together with audio-mapping and down-mix audio-listening capabilities. RiCapture can also capture recorded media locally, on removable or network-attached storage or livestreaming destinations. Controlled from a single SSE interface, it can be expanded to a network of multiple servers for higher-density recording and unlimited destinations.

The i4 and i8 provide four or eight HD HDR input channels, while the i44 and i84 include four UHD channels with HDR capability. On

the audio side, all RiCapture products are capable of 16 channels of embedded audio per channel, in addition to 64 Dante or AES67 channels. In all configurations, RiCapture offers recording in DNxHD or DNxHR along with H.264 4:2:0 and 4:2:2 encoding to the local storage. The local recording storage offers continuous loop recording for the captured content, with options to stream manually or with a scheduler. Files can also be clipped or exported as required from the available local storage to numerous streaming destinations.

Three software add-ons are available in the form of the VDR panel, including a web-based UI with expanded multichannel control for clip playback, programme delays and monitor wall playback. The RiView application is a multiviewer UI that includes audio downmix monitoring for synchronised review of record feeds for review, clipping and export to multiple destinations. The XDCAM add-on provides the tapeless XDCAM format for HD video acquisition and storage.

www.riedel.net

JBL

V2

STUDIO FURNITURE specialist AKA

Design has launched its ProVoice V4 podcast desk, the latest model in company’s range of desks for professional pod- and vodcast setups.

The fourth-generation model includes new features, including acoustic pads to enhance the sound, a universal mic and monitor centre section, along with headphone holders and sleek cable management. According to the manufacturer, the ProVoice V4’s mobility means it’s easy to change podcast formats and is a “stylish” addition to any podcast studio.

Having already supplied over 120 podcast studios worldwide, the desks have been specified by brands such as Spotify, Sky, NBC, Google, LinkedIn, Penguin Books, , London Stock Exchange, Brew Dog, Bleacher Report and The Minimalists. The latest ProVoice V4 model has been specifically designed for worldwide shipping and comes in a manageable and fully recyclable box with simple assembly

www.akadesign.com

VIDEOWALL SPECIALIST VuWall has announced a raft of enhancements to its VuStream 150 H.264 HDMI video encoder. The VuStream 150 is part of the VuStream

to 3840x2160 @ 60Hz, supports 4:4:4 pass-through, as well as 4:2:0 and 4:2:2 encoding and streaming. It enables unicast or multicast transmission to PAK processing

series of encoders and decoders, and integrates with PAK videowall, KVM nodes and VuScape controllers. It can be centrally configured and managed by the TRx centralised management software platform. Is it NDAA, TAA and SOC 2 compliant. The latest VuStream 150 encoder supports HDMI signals at resolutions up

nodes configured for various setups, including operator stations and videowalls, VuScape videowall controllers and media players like VLC. It also provides UHD encoding, PoE support and compatibility with third-party software decoding.

www.vuwall.com

Get comfortable with additional furniture features

CONTROL ROOM furniture specialist

Custom Consoles has introduced a number of refinements to its M-Desk Technical HA heavyduty, height-adjustable desk workstation. The MDesk-Technical HA already features an electrically motorised desktop which can be adjusted in height from 66 125cm, and free-standing 19-inch desktop pods. Additional features include high-strength CDF construction, metal-clad vertical supports, LED lighting at the front, sides and in the footwell, desktop cable trays feeding work-surface cable ports and five under-side power sockets for desktop equipment. The latest version adds options such as a desktop induction pad to charge mobile devices.

Blackmagic extends and transcends AKA unveils the ProVoice V4 VuStream upgrades

INTEGRATING AN RGBW 36mm x 24mm sensor with larger photo-sites for 16 stops of dynamic range and interchangeable PL, LPL and EF lens mounts, Blackmagic Design has added the URSA Cine 12K to its family of largeformat digital film cameras. Featuring 8TB of storage, together with high-speed networking for media upload and syncing to Blackmagic Cloud, the sensor of the URSA Cine 12K operates at resolutions ranging from 4–12K. With built-in ND filters for shooting in varying conditions, the URSA Cine 12K can record up to 80fps at 12K, 144fps at 8K and 240fps at 4K. Ensuring consistency of image on-set and through postproduction, Blackmagic RAW files store camera metadata, lens data, white balance, digital slate information and custom LUTs. The URSA Cine 12K records to Blackmagic Media Module 8TB for capturing over four hours of Blackmagic RAW in 12K or 20 hours in 4K. The RGBW architecture provides equal amounts of red, green and blue pixels, ensuring the optimisation of rich colours at all resolutions. Housed in a magnesium alloy chassis and lightweight carbon fibre polycarbonate composite skin, the URSA Cine 12K incorporates seven-pin Lemo and three-pin Fischer connectors, 12G -S out, 10G Ethernet, USB-C and XLR audio.

The UK company has also announced a Module-R Lite variant of its Module-R series which is designed for use in latestgeneration IT-based studios or where space is at a premium. The Module-R is a mix-and-match control room furniture system that allows broadcast control room furniture to be created on a project-specific basis from a range of pods, base sections, 19-inch rack housings, worktops, endpanel modules and legs. Unlike one-piece control room furniture, the Module-R desks can be expanded or reconfigured at any time.

www.customconsoles.co.uk

Created for more price-conscious budgets, the DaVinci Resolve Micro Color Panel features three weighted trackballs and 12 control knobs for fine-tuning primary grading parameters, in addition to navigation and transport keys for shortcut commands. The primary knobs can be used to control Y Lift, Y Gamma, Y Gain, Contrast, Pivot, Mid-tone Detail, Colour Boost, Shadow, Highlight, Saturation, Hue Rotation and Luminance Mix. Connected via Bluetooth or USB-C, the portable model is slightly larger than a computer keyboard and features a mounting slot for an Apple iPad Pro and an

they edit, allowing simultaneous grading and colour correction.

Designed to operate within the 2110 IP video workflow, the Ethernet Switch 360P features 16 10G connectors and two 100G Ethernet low-latency ports plus front panel routing, a spin knob, colour LCD and short-cut buttons. Corresponding to the same side as the network ports on broadcast equipment, the plug-and-play solution incorporates all network connections on the rear. For large ISO recording and live replay systems, a Blackmagic Cloud Store Max can connect directly into the 100G Ethernet connection for simultaneous Ultra HD recording streams. Developed for simplifying workflows in film and television the IP video routing adopts a router control panel. Bypassing complex IT settings, the Blackmagic Ethernet Switch 360P can set up multicast settings in the background. When connected to any HDMI output, the Ethernet connection is visualised in the status display, including link speed, current data transfer speed and a live data graph for each port depicting the data rate against the port capacity over time.

URSA Cine 12K

M-Desk Technical HA

Canon brings 27x zoom to its latest broadcast lens

DESIGNED TO mobility of a conventional ENG lens, the CJ27ex7.3B is the latest broadcast lens from Canon, the company’s first portable lens with 27x optical zoom. The new lens is classified as a UHDxs lens, the company’s highest image quality rating for broadcast optics. The lens spans a focal range of 7.3–197mm and, with a built-in 2x extender, the maximum telephoto reach increases to 394mm.

The versatile focal length lens is described as equally at home in handheld news, live sports and broadcast studios. The 7.3mm-wide angle helps set the scene for viewers, while the 197mm telephoto end delivers tight shots of the subject. The lens

Market-LED

from ROE Visual

LED DISPLAY expert ROE Visual has premiered its first-ever ICVFX-focused LED panel. Designed to be used in semi-permanent to permanent installations, Obsidian’s reinforced frame design allows for the removal of LED modules at any time, facilitating the creation of access holes for additional equipment such as lighting fixtures or props. It can also be extended with an access platform of adjustable height to create access for technicians who need to work on the volume.

The panel boasts a fine 2.6mm pixel pitch,

to reach “unprecedented levels” of darkness. ROE Visual says its advanced 2,500 nits brightness output represents a high contrast of 16,000:1, and that Obsidian also features flip-chip LED and richer greyscales that enhance the content output and colour fidelity. Mindful of users’ carbon footprints, Obsidian uses 50% less energy than a traditional LED panel at the same brightness (220W max/110W average), while the indoor panel has an IP63 rating for surface waterproofing, making it adaptable for a range of on-set requirements.

BOASTING SIGNIFICANT upgrades

over its predecessor, Christie’s Core Series III videowalls are reportedly not only 30% lighter but up to 40% more energyefficient than the company’s previous Core Series II. Designed for a range of pricesensitive environments such as corporate lobbies, meeting rooms and digital signage applications, the range of five panels is available in a variety of pixel pitches from 0.9mm to 2.5mm, delivers 800 nits and has a typical LED lifespan of 100,000 hours. Its concealed cable design and ADA-compliant direct-mount system is said to make the

A brighter future with Core Series III Firing up flexibility with

eye on filmmakers and video professionals, Hollyland has added the Pyro S to its Pyro wireless video transmission system. Joining the Pyro H and Pyro 7, the Pyro range is a wireless 4K video monitoring system that the company says delivers smooth 30fps wireless video up to a

A COMPLETE live video production solution for live mixing, switching, recording and streaming, the KM-IP12S8 Series

with licensed versions of either the vMix 4K or vMix Pro Live Production and Streaming software. Additionally, the resolution and

CONNECTED CAM vMix Studio Switchers has been debuted by JVC Professional. Comprising the KM-IP12S8 and KM-IP12S8PRO models, the series is best suited to multi-camera and fast-paced applications, such as live sports and event productions. The switchers come standard

imagery are optimised for live programming in SD up to full 4K60p, across an array of traditional and personal viewing devices. The KM-IP12S8 includes the vMix 4K licence and supports up to 12 NDI/SRT and eight SDI video inputs, as well as multiple output options, including 12G-SDI,

three 2.5GB Ethernet ports are available for NDI, SRT, Dante and RTMPS internet connectivity. The switcher also offers concurrent outputs to three CDNs, Multiview and ISO recording, all in a 4U case with liquid cooling. The KM-IP12S8PRO has the same hardware specifications, with the addition of the vMix Pro software licence, which enables eight-channel instant replay.

The front dock of each unit has four SSDs and USB 3.0 Gen.2 ports for digital audio and control surfaces. This includes JVC’s RM-LP350G vMix Control Surface with PTZ camera joystick and the recently released RM-LP450G vMix Slow-Motion Control Surface.

The manufacturer has also unveiled its new KY-PZ540 Series PTZ Cameras with 40x zoom, its first PTZ cameras to incorporate this focal depth. The KY-PZ540 and KY-PZ540N integrated NDI HX3 capabilities and feature JVC’s Variable Scan Mapping technology,

With one transmitter supporting up to four receivers, the Pyro system makes transmission and monitoring more flexible, while Hollyland says its self-developed 2.4GHz and 5GHz Auto Dual-band frequency Hopping (ADH) wireless technology provides enhanced anti-interference capabilities while reducing lag and improving range. Users can optimise video monitoring

V2.1 OF AJA’s ColorBox software has introduced new features that streamline 4K/UltraHD HDR work and facilitate emerging workflows from on-set through to postproduction. Additionally, the American manufacturer has announced that ColorBox and its Pomfort’s Livegrade solution have received the first joint logo product certification status by the Academy Color Encoding System (ACES) for their support of ACES-based workflows.

Among the v2.1 release highlights are a new 4K/UltraHD down-conversion feature for ColorBox’s SDI and HDMI outputs and a 4K/2K crop feature for its HDMI output, which is said to help professionals make better use of existing HD monitoring equipment on-set. The update also introduces a new ACES Pipeline for the device that enables users to load an ACES Metadata File (AMF) into ColorBox to obtain the desired transform for improved collaboration across production stakeholders. Furthermore, support for ARRI Wireless Video Optimize (WVO) LogC4, which helps to eliminate banding

long-distance transmission of 200m. HD mode provides superior image quality, at a stable bitrate of 8–12Mbps up to 400m.

The Pyro S and Pyro 7 feature both HDMI and SDI Input/Output, suitable for professional shooting and smaller commercial projects. The Pyro H provides HDMI Input/Output and Loopout. The Pyro S and Pyro H both also feature a colour LCD display on both transmitter and receiver, providing access to the user interface and quick setting selection. The Pyro 7 is a 7-inch transceiving wireless monitor.

www.hollyland.com

A modular approach from VITEC

AIMING TO simplify and streamline digital IPTV head-end deployments, the Diamond C10 managed chassis from VITEC is a highperformance modular frame that enables

and hardware management of the system, delivering centralised management for simplified IP stream control. Its modular design provides future customisation

broadcasters and IPTV operators to encode and stream a high volume of channels while offering centralised management and functionality. Built upon VITEC’s established OG card product line-up, the Diamond C10 uses an integrated controller card that acts as the central hub for network interaction

and scalability, and the platform features redundant power supplies and adaptive cooling to optimise temperature control. Meanwhile, its hot-swappable design minimises downtime.

www.vitec.com

This VC is well-connected

THE LUMENS VC-A53 is a PTZ HD camera with 20x optical zoom, a suite of simultaneous video outputs, multiple power options, high-speed robotics, multiple streaming and control options, and the FreeD tracking protocol for virtual production. With panning and tilting speeds of up to 225° per second, Lumens says the VC-A53 is well-suited to professional applications, including sports, documentaries and event production. The camera provides SDI, HDMI, Ethernet and USB connectivity, VISCA, ONVIF and USB control and streaming format support that includes RTSP, RTMP(S), SRT and MPEG-TS. It provides DC and Ethernet power (PoE) enabling fast installation onto the network or in studio environments, and is compatible with the Lumens Deployment Tool 2.0 which

Epson takes short throw

EPSON HAS released its first ultra-short throw projectors for businesses and hybrid working environments that integrate its 4K Enhancement Resolution technology. The inclusion of Extreme Short Throw technology also means that the EB-810E and EB-815E models can be positioned just centimetres from the wall to create a canvas up to 4m. Additionally, both models support multiple aspect ratios,

for ceiling mounting, complicated cabling and the labour involved, users can either mount the units on the wall or simply set on a surface close by. The EB-810E and EB-815E come with versatile wired and wireless connectivity options, including screen mirroring to ensure multi-device content sharing. Weighing only 12.3kg, both projectors are also portable.

The Epson Setting Assistant App is said

enables full control, management and monitoring of multiple cameras over the network.

www.mylumens.com

over a single cable, with a second 100GB Ethernet input for full redundancy. Additionally, new data distribution units support fan-out from 100Gb to 10Gb and to 1Gb Ethernet, allowing connections to existing Tessera R2, R2+ and G1 receiver cards. Brompton has also introduced support for irregular canvas sizes, which can extend up to 64K pixels in either dimension. This capability enables a single processor to handle screens that would have previously required multiple units.

The SQ200 is the first of several planned products in the Gen 3 range to cover a variety of price points and applications.

Integrating Micro LED and HBB common cathode technologies, the KLCOB V2 Series delivers a contrast ratio of up to 15,000:1, high dynamic range, 600 nits, 3,840Hz refresh rate, a DCI-P3 cinema-level colour gamut and 2fps low latency. Designed for control rooms, the KLCOB V2 Series offers 360° protection against external impacts, ensuring a robust defence from every angle.

Also boasting Micro LED technology alongside optional interactive touch capabilities, Absen’s Absenicon X Series is tailor-made for professional environments such as boardrooms, meeting rooms and showrooms. The range is

full-screen calibration, 90% BT2020 cinematic colour gamut and a 15,000:1 contrast ratio. Finally, Absen’s Acclaim V3 Series (A27) is designed for high-end enterprise and retail applications. Now available in 1.2mm pixel pitch, it offers up to 2.5mm and has an aspect ratio of 16:9 to cater for commonly viewed videos. Only 44.5mm thick and weighing 24kg/m2, the Acclaim Series is equipped with APS technology, reducing power consumption by up to 30% while maintaining lower surface temperatures.

www.usabsen.com

SX40 to reportedly ensure ample headroom for years of continued use.

The SQ200 offers 100Gb Ethernet connectivity

KLCOB V2 Series

Next-level DMX

REBUILT FROM the ground up with a “fresh new look”, ADJ has released myDMX 5, designed to make it easier and quicker for users to program “bigger and better” light shows. myDMX 5 features a 20K+ fixture library, an effects engine, new Super Scene timeline interface, app control and a new hardware interface with standalone capability. Compatible with PC and Mac, myDMX 5 is described as easy to learn for first-time DMX users and comes with features that will reportedly fuel the creativity of experienced professionals. It can be used to control all types of entertainment lighting fixtures compatible with the DMX protocol, including moving heads, static washes, mirror scanners and strobes as well as accessories such as smoke and haze machines.

The manufacturer has also updated its Par Z Series. The Par Z100 3K2 features a 100W 3,000K cool white COB LED engine, while the Par Z100 5K2 uses a 100W 5,700K warm white COB LED light source. Both versions offer five beam angle options (9°, 15°, 20°, 25° or 30°)

and are supplied with a gel frame allowing the use of a diffusion filter or colour gel (not included). The Par Z150 RGBA comes with a 150W quad colour (red, green, blue and amber) COB LED engine said to deliver a large spectrum of colour options, including white light with colour temperature variable between 2,300K and 9,900K.

grandMA works harder

THE V2.0.0.4 grandMA3 software update introduces a raft of functionality and workflow improvements to MA Lighting’s lighting console, including a customisable encoder bar, bitmaps, soundfiles in timecode, selection grid improvements, fixture sheet modes and what MA Lighting refers to as “special dialogues”. In addition, the update delivers improvements to data handling and organisation. Sheets can now be filtered and reorganised to create a

personal workspace, and the transfer of fixture data is said to be easier with the introduction of a clone window. Tracking functionalities reportedly simplify working with big sequences, while fixture type presets allow users to easily transfer predefined content from show to show. MA Lighting’s free online MA University provides detailed training on the updated feature set.

www.malighting.com

The H20 Two is the manufacturer’s latest H20 water simulation effect projector. Featuring a 120W cool white LED light source, the fixture can be used to project an animated effect which gives the impression of running water. Manual zoom allows the beam angle to be adjusted between 27° and 37°, while manual focus of the lens allows the effect to be blurred out if required. The fixture features a colour wheel with five dichroic options (plus white) as well as a strobe function. It can be controlled either via DMX – connected using five-pin cables – or using the supplied UCIR infrared remote. lime) LED engine, combining vibrant colour

Awash with colour

AYRTON HAS

Source 6 and Creative Solutions ranges: the Kyalami and Nando 502 Wash. The Kyalami is a laser-sourced fixture designed for architectural graphic effects and is the first IP65 laser source luminaire in the Creative Solutions series. At 265mm x 430mm x 265mm, the Kyalami is an ultra-compact luminaire with a design that allows multiple units to be installed only a few centimetres apart. Its 265mm sphere incorporates the Kyalami’s 100W laser module, cooling system and optics, while its 126mm front lens positioned in the continuity of the sphere provides the Kyalami with a unique visual signature. Its proprietary three-lens optical system produces an intensive 1° beam and a range of focus that permits the beam shape to be adjusted according to operating distance. It delivers a record luminous flux of 400,000 lux at 10m from its speckle-free laser source, which is designed for rendering a D65 white point. Meanwhile, its colour section includes a high-definition progressive CMY colour mixing

mixing with a high CRI. The unit features 64 colour macros, to allow easy mixing of popular options, and offers variable white light output with a colour temperature of between 2,700K and 6,500K. The fixture is supplied

yoke that can serve either as a floor stand or hanging bracket and has a sit-flat design (with power and DMX sockets located on the side) to allow simple deployment as an uplighting fixture.

released the DMX FX512, a DMX controller designed for use with both LED PARs and moving heads; and the MDF3, a robust, lightweight and modular LED dancefloor panel illuminated by an arrangement of three-in-one RGB colour mixing LEDs that cause its opaque surface to glow vibrantly in

www.adj.com

system and a multi-position instant access colour wheel equipped with five corrective filters and 17 complementary colour filters.

Expanding Ayrton’s Multi Sources IP65 6 Series, the Nando 502 Wash is another compact IP65 luminaire, especially

designed for mixed use stage lighting. Suitable for both indoors and outdoors, it can even be used in salty environments. It can switch from beam to wash with a zoom ratio of 15:1 and a zoom range of 3.5–53°, and is fitted with 12 high-performance 40W LED sources with RGB-L additive colour synthesis and a proprietary optical system made up of a 210mm cluster in PMMA. This works in combination with 12 glass light-guides with an output surface made of an optical micro-structure. Its lightweight and minimalist design reportedly allows perfect colour reproduction with a colour rendering luminous flux of 10,000 lumens and offers a mix of pastel or saturated colours. In addition, a library of pre-programmed colours allows colour, and Ayrton has also installed separate LED source control channels on all Wash versions and what it claims is a virtually infinite library of effects.

www.ayrton.eu

Kyalami

Nando 502 Wash

myDMX 5

Leading with LED

FRENCH LIGHTING specialist Robert Juliat has expanded its range of LED luminaires with the introduction of two products. Featuring a motorised iris which enables the creation of iris presets, the cool white 6,000K Tristan is an 800W LED high-output followspot with a 7–14° zoom range. Additional features include electronic dimming, local and DMX control, integrated power supply and silent operation, along with a remote display and accessories for an operator. Tristan is also compatible with DMX, RDM, Ethernet, Art-Net and sACN protocols.

Designed for long-throw front-of-house applications in medium to large venues, Ravel is an LED profile spot which sports a lamp house design with a reinforced body and an enhanced, efficient cooling system. Designed to be compatible with Robert Juliat’s 600SX and 700SX Series profile lens tubes, Ravel’s light output is equivalent to that of 2kW tungsten profiles. Its 450W tunable white

Chauvet lights the world

CONTINUING ITS theme “Reach Across Worlds in 2024”, Chauvet Professional has added to its Strike series with the Strike Array 4C and Strike Array 2C, both IP65rated RGBA-WW blinder-strobe-audience lights. The units come with full-colour pods (four in the larger unit and two in the smaller one) that can be independently focused and feature low-end dimming capabilities as well as a red shift function that warms the colour temperature of the light as it dims to emulate a classic tungsten look. The variable PWM and high CRI of both units make them the suitable for broadcast applications. They also have a proprietary tool-free interlocking system that allows them to be interconnected in the kind of multiple configurations that are important to live and VR productions. The Strike Bolt 1C is an IP65-rated strobe featuring integrated Smart Frost that enables the fixture to shift instantly from powerful strobe bursts to smooth colour block effects. Its proprietary ToolFree Stacking streamlines interconnecting Strike Bolt 1C with Strike Array fixtures

Tuning up in colour

LED source reportedly guarantees the same constant brightness whatever the colour temperature, with a CRI >90. Available in three zoom options – 16–35°, 28–54° and 11–26° – Ravel has the same silent operation and protocol compatibility as Tristan, and a maximum power consumption of 500W.

www.robertjuliat.com

BRINGING GREATER control and precision to its range of full-spectrum LED lighting fixtures, Elation’s ColourTune Technology allows users to customise output to meet their exact needs. Providing total colour uniformity across multiple fixtures, the software’s suite of features includes Colour Tuning, Output Balance, 16-bit CCT Control, White Point Adjustment, Dim to Warm and a Virtual Swatch Book Fade.

Colour tuning enables users to choose between highest output, highest fidelity or a blend of both to achieve optimal performance tailored to any application, with CCT and colour

settings adjusting accordingly. Meanwhile, the Uniform setting on the Output Balance feature maintains consistent intensity across multiple fixtures to deliver a more homogenous system; conversely, a Bright setting allows a fixture to output its brightest levels but sacrifices uniformity of colour tone and CCT tolerances between fixtures.

ColourTune Technology provides recallable 16-bit CCT control over colour temperature and allows for adjustments of as little as 1° Kelvin for accurate reproduction of desired lighting hues. Seamless colour temperature crossfades are possible anywhere along the 2,400–8,500K range. White Point Adjustment

enables users to set a desired CCT value and then mix colour from that set point, with the flexibility to mix colours manually or select from a virtual swatch book.

LED batten with individual control of zoom, tilt and colour across 12 independent heads. Basic and advanced operating modes and a full library of pre-built effects that includes virtual gobos, movement macros and foreground/background colour control are said to make creating complex and volumetric looks easy. Seamless edge-toedge mounting maintains pixel pitch between fixtures, helping to make runway effects consistent.

Finally, the Ovation Rêve F-3 IP is an outdoor-rated motorised Fresnel incorporating the manufacturer’s full spectrum (RGBAM) Rêve light engine. Designed for applications in need of soft controllable washes, the unit comes with an adjustable yoke that allows it to be mounted anywhere, even in low clearance areas. The extended zoom range can narrow from 60° all the way down to 10°, while the unit also boasts smooth dimming, ± green adjustment, linear CCT and adjustable Pulse Width Modulation.

www.chauvetprofessional.com

The natural glow of tungsten lamps is achieved through the Dim to Warm feature, which seamlessly fades colour temperature as the fixture is dimmed, while the Virtual Swatch Book Fade enables users to fade between two virtual swatch book colour selections for smooth transitions, with options to adjust pre-built swatch colour points for greater colour customisation.

ColourTune is available on fixtures including the Fuze Teatro, KL PAR FC, KL PAR FC IP and SŌL I Blinder, and will be implemented into all new full-spectrum fixtures moving forward.

www.elationlighting.com

Ravel

Tristan

UK

LIGHTING company Avolites has been busy, with the launch of its latest Diamond console, the introduction of Titan version 17 and previewing updated Prism media software. The Diamond 7 (D7) comes on the back of the company’s flagship Diamond 9 (D9) console. While the control surface follows the D9 design language, the D7 features a clam shell screen panel and locking mechanism. The company has unveiled two variants in the D7-330 and D7-215, a three- and two-screen variant w ith 30 and 15 faders respectively. The D7-215 fits into a standard Peli-Air case and is under the European 23kg aircraft hold weight limit.

Meanwhile, Titan version 17 enhances the user experience with improvements to the colour picker, personality builder, cue list

Colouring outside the box

CLAIMING TO have the most robust feature set it has ever developed, Martin Professional’s MAC Viper XIP is an outdoor moving head fixture that utilises Martin’s patent-pending XIP weatherproofing technology. Integrating powerful lumen output, XIP water and dust ingress protection, and whisper-silent noise levels, the MAC Viper XIP is designed not only for temporary, year-round outdoor needs, but also for broadcast and other noise-sensitive applications. Martin’s tailor-made light engine and XIP weatherproofing allow the MAC Viper XIP to deliver 28,000 lumens consistent output, with a 5° narrow, high-definition and high-contrast beam. The company says its 5,800K colour temperature ensures a white point precisely on the black body curve, with no green or magenta shifts. Its optical system features

14 precision-coated lenses and delivers centre-to-edge clarity, while the shutter system’s enhanced depth of field ensures well-defined gobo framing.

The MAC Viper XIP’s cooling system maintains full output with colours, gobos and effects, and features high-resolution, low-level dimming and gobo light recycling to enable 25% additional output when inserting gobos. Meanwhile, precision motor control results in pan and tilt speeds and response times suitable for followspot systems. In addition, the MAC Viper XIP NFC technology enables smartphone control via the upcoming Martin app, while it also offers simplified connectivity with popular control protocols such as DMX, Wireless DMX, Art-Net, sACN and Martin P3 Control.

www.martin.com

macro target console option, convert between hardware trigger and item trigger features. Finally, Prism is Avolites’ latest media software application. Designed to give lighting operators and designers easy access to tools and video features, it is complementary to Avolites’ Ai specialist media application. Primary features include multiple layers, preview window, live inputs (capture cards and webcams) and NDI inputs. An updated UI includes bank table and thumbnail views, adding surface and output pages, and cross-fade on layer. Updated Synergy control includes adding and removing layers, while secondary features include speed control on layer, added virtual returns and hardware decode for H.264/H.265. The company plans to fully release Prism One later this year.

www.avolites.com

Elsewhere, the Hog 4 version 4.0 software update provides “significant improvements” to colour handling and Hog 4’s Colour Picker, the introduction of a “Record Defaults” function and Fixture Builder upgrades. Aiming to relieve programmers and designers from the challenges of controlling rigs with multiple colour engines, the update provides multiple colour input languages through the colour pickers, virtual colour functions and gels library. Substantial changes have also been made to the fixture library, colour picker, gels, palettes, effects, plots, pixel mapping and the playback of colour. All colour mixing systems – including native HS, xyY, CMY as well as all additive colour engines – are now fully integrated. Hog 4 OS v4.0 also now features a Colour Picker window with a tabbed interface that features a variety of controls for mixing colour across all fixture types. Additionally, a “Colour Mix” preview column has been added to the output window and editor windows, indicating the colour being output by colour mixing fixtures.

Other features include Record Defaults to provide operators with a way to establish default function values for fixtures. Meanwhile, the Fixture Builder has additional basic mode templates for modelling additive colour modelling

fixtures, automatic application of virtual intensity to fixtures with colour mixing systems and the inclusion of more user-editable fields such as mode and product. Version 4.0 is compatible with all generations of Hog 4 hardware. Finally, the manufacturer has introduced a range of capabilities to its Mosaic Designer Software with the launch of Mosaic software v2.12. Headlining the feature set is Mosaic Record, which enables users to capture up to 16 universes of sACN or Art-Net output from a console and save recordings directly to a Windows or Mac environment. Record captures can be applied onto Mosaic timelines just like any other effects or presets, seamlessly blending into a show. ETC says Mosaic Record not only makes programming any show simpler but means that moving lights effects programmed on a console can be easily ported into Mosaic. The Mosaic Record app records from a computer and imports directly to the Mosaic Designer software rather than being triggered from a Mosaic touchscreen. The update also enables users to set timings to tempo and bars with music timelines and customise playback groups. www.etcconnect.com

Spotlight on Robe

CELEBRATING ITS 30th birthday this year, Robe has debuted several additions to its lighting inventory, including the iBOLT, T15 Fresnel and PC, iT12 Fresnel, iESPRITE Fresnel, Footsie1 and Footsie2 Slim and iSpiiderX.

Mirroring the MegaPointe, the iBOLT can be used as a beam, spot, wash and effects luminaire for stage and outdoor applications. It has an LSW-5 white laser phosphor light source and a 300mm front lens with a 0.4–8.5° zoom. Additional features include the SpektraBeam effects engine, ScanGuard safety monitoring and Robe’s POLAR+, EMS and RAINS IP protection technologies.

Produced for theatre and broadcast studios, the T15 is available as a Fresnel or PC version, both with identical features. The T15 utilises the ZoomStat system which produces a beam angle exceeding 70° with a motorised zoom range of 10–72°. It offers a CRI of 95 and CMY or RGB colour control virtual CCT range from 2,700–8,000K, while the MSL-TE 350W LED engine offers a 11,960-lumen output.

The iT12 Fresnel has been specifically designed for outdoor IP65/IP66 requirements. The fixture features a 10:1 zoom ratio from a 6° beam to a

60° wash. The iSE-MSL-TE 500W LED source offers selectable CMY, RGB or individual colour emitter control, factorycalibrated whites and variable CCT from 2,700–8.000K, a CRI of 95 plus and an

The iESPRITE is powered by Robe’s Transferrable Engine technology including the white iSE-TE 650W HP and HCF LED engines. Designed for external use, the fixture is equipped with a F2L Fresnel lens for outdoor IP65/ IP66 requirements which boosts the homogeneity of the light output across the 10:1 zoom ratio, from a 6° beam to a 62° wash. Other benefits include two colour wheels, ChromaTint, RotaScrim, 4Door, Cpulse and POLAR+.

The Footsie1 and Footsie2 Slim are two new variants of Robe’s IP65-rated LED footlight system. Suitable for a variety of applications, the fixtures are available as Warm White (CRI 90+), Tuneable White or RGBW light sources. They feature the SPREAD system to help remove side glare and BluMark safety which offers lowlevel LED indication of stage edges. Finally, with an IP65 rating, the RGBW LED WashBeam iSpiiderX luminaire has been created for outdoor use with features including RAINS, MAPS and POLAR+. It weighs 18kg and has a lumen output of 13,100. The iSpiiderX boasts individual pixel mapping capabilities which can be used together with the

iESPRITE

in-built “flower effect” with a variable zoom 4–50°. It also includes DataSwatch filters, the EasyClean lens system and Cpulse flicker-free management.

www.robe.cz

Setting the new standard for image processing

With the addition of the powerhouse Aquilon RS6 and the ability to link several image processors to further scale up their performance, LivePremier systems have become the industry’s most powerful solutions for safely controlling the world’s largest installations and events.

Redefining the workspace

Zach Snook, director of product management at Biamp, looks at how the practice of hoteling can be used to increase productivity and staff satisfaction in the face of shrinking office space

HYBRID WORKING, WHERE EMPLOYEES SPLIT THEIR time between the traditional office environment and elsewhere, exploded in popularity during the pandemic. However, unlike other aspects of daily life that have gone back to normal, a return to the office hasn’t materialised, with the hybrid working trend apparently here to stay for the foreseeable future. In late 2023, desk booking platform Robin Powered surveyed 530 business owners and facilities managers across the US about how their office space is currently being used and what the future of the physical office will look like. The survey found that 75% of businesses said they planned to reduce office space this year, compared to 46% in 2022.

As employers continue to coalesce around hybrid work scenarios, shrinking office footprints accordingly, employees increasingly do not have their own dedicated deskspaces. Should all or even a majority of employees show up to the office on any given day, proceedings can quickly transform into an elaborate game of musical chairs.

To better manage the reduction in office space, AV and IT leaders from family businesses to enterprise-level corporations need to think not just about how they accommodate a distributed workforce within a hybrid work environment, but also how best to leverage the scaled-down office without hurting productivity and employee satisfaction. A smaller office space creates a need to be more intentional and strategic with how that space is utilised across individual offices, shared workspaces and conference rooms. In response, organisations are increasingly adopting hoteling strategies, meaning that instead of having dedicated workstations, employees reserve desks or meeting rooms as needed. This approach provides maximum flexibility as employees can choose the most suitable workspace based on their specific tasks and requirements from day to day, or even hour to hour.

company-wide scheduling platform should include a mobile app allowing employees to find and book a desk or conference room before going into the office. Ensuring the app includes floorplans provides users with an overview of available desks on each floor to find and book a space that fits their needs. The app could also be used to view ongoing and upcoming bookings days in advance, enabling employees to book the space and check in. The system should also assist users in finding their colleagues based on current bookings, enhancing collaboration and teamwork opportunities.

Hoteling is particularly beneficial for organisations with a significant portion of the workforce operating remotely. As a general rule of thumb for maintaining just enough office space for hybrid work scenarios without sacrificing productivity, Biamp recommends a desk-to-employee ratio of 0.7, meaning that for 10 employees there should be seven desks. Of course, if everyone shows up at the office on any given day, not enough desks will be available. Again, hoteling can play a big factor in effectively managing this situation by enabling employees to plan ahead.

team members together at the office in the first place. Organisations can also utilise hoteling to address issues like equitable access to workplace technology, effective communication in hybrid settings and maintaining company culture within a distributed workforce. Other benefits include reducing the carbon emissions of the organisation by making the office space as efficient as possible while reducing the need for employees to commute, especially if they know the office will be full that day or a primary colleague or supervisor won’t be present. Scheduling systems can be incorporated into the existing IT framework and hardware, ideally within the conferencing solutions built on preexisting unified communication platforms such as Zoom, Microsoft Teams and Google Meet.   Creating an effective hoteling strategy starts with making scheduling and managing office space as simple as possible for employees, whether they are in the physical office or not. The

In-office displays showcasing the desk or room schedule and its current status should be provided for each workspace or conference room. Providing an option for an employee to book the space in real time as they review the schedule further enhances productivity. A traffic light system whereby devices might light up red to signal that the particular space is currently reserved, amber to show that the desk is reserved for later in the day or green to indicate the space is open and available to book could be particularly useful. The key is ensuring that such a hoteling hardware-software system is cloud-enabled and integrates within the existing office software collaboration tools and AV hardware. For the integrator, this add-on hoteling technology can help them better serve their customers while offering an additional revenue stream to counter the shrinking office space. After all, a smaller office likely means fewer AV peripheral install opportunites such as control systems, speakers, microphones and cameras that are now staples in today’s office environments.

Those organisations that can master scheduling within effective conferencing AV ecosystems, including unified communication tools, will generate the most employee satisfaction in hybrid work environments well into the future, taking the stress out of a visit to the office and ensuring a productive working environment. Furthermore, organisations can utilise the data generated by the hoteling system to optimise office space, tracking which desks and conference rooms are the most or least popular. This would allow them to refine the physical office footprint for the benefit of both the workforce and its green initiatives – each key factors in ensuring a happy, productive and sustainable working environment.

www.biamp.com

Zach Snook

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