Pro AVL Asia March-April 2022 by Blank Canvas Publishing Ltd

ProAVLAsia March–April 2022

LIVE SOUND LIGHTING RECORDING INSTALLATION AV BROADCAST POSTPRODUCTION March–April 2022

OLYMPIC RECORD

Opening and closing the Winter Games at the Bird’s Nest

D&B SOUNDSCAPE’S JAPANESE MASTERPIECE MEDIACORP ADDS DOLBY ATMOS HE

TEMPLE OF LIGHT IMMERSES ART FANS NEUMANN ENTERS LIVE MARKET

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Singapore: MICA (P) 001/06/2021 PPS 1604/05/2013(022953)

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BETTER-SOUNDING WORLD

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Contents Volume 21 Issue Two March–April 2022 NEWS BUSINESS New Bangalore base for Diversified

DISTRIBUTION Voice-Acoustic comes to Vietnam

APPOINTMENTS Ayumi Hanano to front d&b Japan’s Soundscape

SPECIAL REPORT Pro AVL Asia and Electro-Voice webinar discusses MTS

SPECIAL REPORT Datapath’s Aetria takes full control

PROJECTS Six orchestral nights under the stars

FEATURES BRINGING HISTORY TO LIFE Videomapping Bangladesh’s Parliament House

SENDING OUT AN SOS Adamson systems installed in Hangzhou’s SOS Club

CHANGING THE LANDSCAPE d&b Soundscape creates immersive art in Japan 56 WALKING INTO ART Shanghai immersive exhibition pairs with Meyer Sound

PROVIDING CLARITY Sunrise Trading upgrades Macao Polytechnic Institute

COVER: LET THE GAMES COMMENCE Sound design for Beijing 2022 ceremonies

ENHANCED SURROUNDINGS Singapore’s Mediacorp adds Dolby Atmos HE

BUSINESS LETTER FROM AMERICA Dan Daley: why immersive isn’t always great for music

LETTER FROM EUROPE Is the Expanded Universe now a reality, asks Phil Ward

COMPANY PROFILE Exterity celebrates 20 years on Scotland’s Firth of Forth

TECHNOLOGY Apex unveils its CloudPower remote controlled amps

PRODUCTS The industry’s most comprehensive product news

ANALYSIS Neumann’s new clip microphones target the live market

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

With the 2022 Winter Olympics drawing to a successful close in Beijing, we are proud to present our lead feature which goes behind the scenes at the opening and closing ceremonies at the Bird’s Nest stadium. It will come as no surprise that until the last minute, there was an ever-changing uncertainty about gaining access to the events, and it’s down to the perseverance and hard work of our Chinese correspondents, Sue Su and Frank Shao, that we’ve been able to deliver it. It’s also a measure of the relationship we’ve built with chief sound designer He Biao, whose projects in China featuring L-Acoustics and DiGiCo systems have featured many times in these pages, that we were able to gain access to his team’s work on the ceremonies, as well as some stunning photos. Read the full story on p66. Interactive projects are becoming a regular mainstay of our coverage, and in this issue we take an in-depth look at d&b Japan’s participation in a live performance which drew on Soundscape technology to transport audiences to Kyoto circa 800AD (p56). Meanwhile, in Shanghai, the temporary Temple of Light exhibition has opened on the Bund with a Meyer Sound Ultra-X20 spatialised audio design to complement the enveloping visuals, which also have a strong Japanese theme (p60). Both are beautiful examples of how our industry continues to push the boundaries of what’s possible in the realms of AV, art and live entertainment.

Contacts

102

inside

GENERAL MANAGER Richard Lawn

ADVERTISING DIRECTOR Sue Gould

DIGITAL CONTENT EDITOR Libby Stonell

T: +44 1892 676280

sgould@proavl-asia.com

lstonell@proavl-asia.com

SENIOR REPORTER Simon Luckhurst

EDITORIAL COORDINATOR Karen Wallace

SALES ASSOCIATE Carolyn Valliere

T: +44 1892 676280

kwallace@proavl-asia.com

T: +1 562 746 1790

sluckhurst@proavl-asia.com

DIGITAL MEDIA MANAGER Nick Smith

PRODUCTION MANAGER Adrian Baker

VIDEO EDITOR Chris Yardley

T: +44 1892 676280

BEIJING OFFICE Frank Shao

GUANGZHOU MANAGER Sue Su

CIRCULATION Marne Mittelmann

T: +86 10 8652 5184

T: +86 13609001455

F: +65 6491 6588

rlawn@proavl-asia.com

60 nsmith@proavl-asia.com

frank@proaudioasia.com.cn

COVER: Beijing 2022 Winter Olympics PRINTER: Times Printers Singapore LICENCES: Singapore: MICA (P) 001/06/2021; Malaysia PPS 1604/05/2013 (022953) All rights reserved. No part of this magazine may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or by any information storage and retrieval system, without prior permission in writing from the copyright owners.

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@ProAVLCentral

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

@ProAVLAsiaMagazine March–April 2022 PRO AVL ASIA 3

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NEWS

AV fast track to India INDIA

Offering tailored business development services for international vendors and bespoke AV/ICT design and project management services to end users/ developers, Catalyst Technobiz is a newly incepted Dubai-based business consultancy. Having served as AV business unit manager and AV senior design and engineering manager at Omnix International since 2009, principal consultant Abdul Riyaz is the cofounder of the new setup and team in Business Bay. “Over the last decade, I have developed and integrated several AV/ICT solutions for customers with innovative workspace technology and collaborated with the advanced innovative vendors,” commented

Riyaz. “This experience has given me the confidence to create Catalyst Technobiz. Our strong presence in the Middle Eastern, African and Indian markets will accelerate market penetration for global technology vendors.” Working together with Riyaz, co-founder and sales director N S Prasad – commonly called NSP –served as general manager at specialist AV distributor, Taxangulf, for almost 10 years in Dubai and as technical head, India, for Revolabs. “With our sustainable business model, technology providers can accelerate their market penetration with confidence within the MEA and Indian

sub-continent,” commented NSP. “The combination of our business consultancy programme and innovative consultancy practices will allow these businesses to grow organically, whilst providing operational support for seamless business continuity.” NSP concluded: “Our commitment to bringing the latest in workspace and collaborative technology to our clients will see us providing innovative solutions within the education, government, hospitality, healthcare, entertainment, retail and corporate verticals.” Abdul Riyaz

ROE Visual opens Japanese office JAPAN

ROE Visual has announced that its Japanese-based subsidiary is fully operational. Aiming to have fully fledged sales and support bases close to its customers, the move is part of its new global extension plan. The office is based in Hatchobori, Tokyo, with over 260m2 of floor space, as well as a showroom, conference room, and support and test facilities. The office enables the Japanese team to support its client base either onsite or in wider Japan. ROE Visual also has sales and support bases in Shenzhen, China, to serve the broader Asian market; Leek in the Netherlands for European clients; and Chatsworth, USA, for the North American market. In addition, the company runs a Repair and Service Center in Hong Kong.

“We’re thrilled to be able to extend our service and support package to our regional client base. It will enable us to not only continue providing high-quality services but also to expand our support,” stated Teppei Shuhama, vice president for ROE Visual Japan. “With our growing customer base here in Japan, it’s paramount that the team can deliver optimal solutions in a fast and efficient way.” “Establishing ROE Visual Japan is a great opportunity to create and maintain those essential close connections with our client base. We strive to offer every customer in Japan the best support available,” commented Grace Kuo, ROE Visual sales director. ROE Visual’s Japanese HQ

www.roevisual.com

the right direction towards further supporting its global clients. “India has become the third largest pro AV market in the world and is the fasting-growing economy in the APAC region,” commented Masters, who joined Diversified in July last year. “Diversified is uniquely positioned, with the strength of our existing APAC presence and the

breadth of our services in not just AV but broadcast, security and IT as well, to be a true technology partner to the global organisations entering this market at a rapid pace.” “Most – if not all – of the multinational and global enterprises we work with have expressed the need for a technology solutions provider with a real presence in India,” added Kevin Collins, president of Diversified. “With the addition of this office and John on our team, I see us not only meeting those immediate needs but taking it even further to provide the global technology standards, high-quality delivery and reliable managed services those clients need to be successful abroad.” Since Masters joined the company, he has begun to grow the local team, including the appointment of Vijay Lakshmanan as India operations manager. Together, Masters and Lakshmanan will work to set up an operation to not only deliver local projects but also augment and support workforce constraints and demands of the global Diversified organisation.

New Bangalore base for Diversified

www.catalyst-technobiz.com

Cobalt Digital sets up a base in China CHINA

Cobalt Digital, designer and manufacturer of edge devices for live video production and master control and founder partner in the openGear initiative, has launched a representative office in China. Located in Beijing, the office is headed by Bob Nichols, VP of sales APAC, and staffed by local sales and support professionals with regional knowledge and experience supporting Cobalt’s portfolio.

INDIA

Diversified has announced the official opening of its office in Bangalore, as well as the appointment of John Masters as India country director. This marks the company’s sixth legal holding in APAC with additional presence in Japan, Singapore, Hong Kong and Australia. Having established itself as an international player more than five years previously, this milestone is another step in

Chris Shaw Prior to establishing the office, Cobalt has steadily increased its sales network in China over several years through its partnership with PESA. Chris Shaw, COO at Cobalt Digital, said: “China is a first-class vehicle for new and developing technologies from Cobalt, such as our IP and ST-2110 solutions. The Beijing Representative Office is a natural path to expansion and implementation of our international sales initiative. The success of this office will fuel future growth with more locations opening up around the world soon.” www.cobaltdigital.com

Diversified’s India team

www.onediversified.com

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Evolution Wireless Digital

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NEWS: BUSINESS

VITEC acquires Audix WORLD

Vitec Imaging Solutions, a division of the VITEC Group, has announced its acquisition of Audix and its affiliates, continuing VITEC’s mission to marry audio with video for all types of creators. Portland-based Audix, a leading microphone brand for studio and live performance audio,

PEARL can create life-sized, controlled-condition environments

When entertainment technology meets science WORLD

University College London (UCL) has constructed its Person-Environment-Activity Research Laboratory (PEARL) – a 4,000m2, 10m-high laboratory and testing ground for simulating live events. The L-ISA Immersive Hyperreal Sound installation consists of over 150 L-Acoustics loudspeakers, creating a unique environment where entertainment technology meets scientific research. The UCL Department of Civil, Environmental and Geomatic Engineering’s vision is to use PEARL to help create a world where everyone can achieve a better quality of life.

system which can recreate everyday life in minute detail. Nick Tyler, Chadwick professor and director of the UCL Centre for Transport Studies, led an audio team including technical services manager, Joe Boxshall, and specialist lead, sound, Steve Mayo. “The only way for us to accomplish what PEARL needed, was to design a precise and infinitely flexible, fully immersive sound system,” said Adlib project manager, Andrew Watts. “L-ISA technology is tailor-made for this challenge because it provides the colossal dynamic range required, while also being easy to conceive,

focuses on studio commercial and live applications. The Audix team and facility will become Vitec Imaging Solutions Audio R&D Centre of Excellence, enabling the acceleration of in-house microphone product design, development and manufacturing across all VITEC audio brands. With the acquisition of Audix, VITEC’s audio capture

strategy is now structured around three core brands that cover all growth segments of the US$1billion microphone market. Under the umbrella of Vitec Imaging Solutions, VITEC will add sales, marketing and e-commerce capabilities to develop the US brand worldwide, with a primary focus on fast-growing wireless applications. Audix will open its USbased manufacturing facility to the rest of VITEC’s audio brands, ensuring its innovation is applied across VITEC’s whole audio portfolio. “Audix is the perfect addition to our existing audio range, in a high-tech, growing category,” said Marco Pezzana, divisional CEO at Vitec Imaging Solutions. “The brand will significantly increase our total addressable market, advance our audio technology capabilities and, most importantly, bring great people with intimate knowledge of the audio industry, who will be a real asset to the company and enable us to accelerate the delivery of VITEC’s audio strategy and delight the content creator community with easy-touse, high-fidelity audio capture solutions.” www.vitecgroup.com

Vega partners with Aura APAC

LA2Xi, LA4X and LA12X amplified controllers can be can be positioned anywhere in the facility At 100m end-to-end and 40m across at its widest point, the space can be divided into four modules and is entirely carbon-neutral thanks to a roof of PV panels. In it, researchers can create life-sized, controlled-condition environments like a railway station or town square, so that they can study the crowd’s interaction with the environment and each other. The floor’s profile, type and material can be changed, as well as its lighting, scent and, most importantly, sound. Global engineering consulting firm, Arup, worked with UCL to define the range of technology that would deliver PEARL’s goal, with team member Tom Brickhill working closely with L-Acoustics applications project manager and consultant liaison, Julien Laval, on the initial design concept. Responding to the design brief from Arup, event production and installation company, Adlib, was tasked with supplying the L-ISA technology. Using its experience in both the entertainment and installation markets, Adlib created a touring-grade audio

predict and iterate with L-Acoustics Soundvision 3D audio design software.” Adlib provided two spatial audio systems: a system for the main experiment space and a smaller system for the preparation studio. “A fundamental concept of both spaces is that L-ISA can be set up in any configuration to meet the specific needs of a given experiment,” Watts continued. “L-Acoustics training, which was delivered this autumn, enables UCL to create immersive audio experiences from the design stage with Soundvision through to completion with the well-defined L-ISA workflow.” “This is just the start of the relationship,” concluded Boxshall. “PEARL isn’t just a space for university research, it’s a simulation environment, so it has great commercial potential, too. We’re all incredibly excited to be part of such a ground-breaking project.”

APAC-based AV/IT integrator, Vega Global, has announced its strategic partnership with Aura. The move will see both companies combine AV/IT technology integration and services with workspace technology. “This partnership represents the ideal opportunity for both Vega and Aura to compete and grow in the global marketplace,” said Matthew Deayton, deputy CEO at Vega. “We see the Vega and Aura businesses align in many ways, to which we’re excited about providing our customers a stronger, strategic, endto-end experience. As more and more organisations drive towards merging their digital and physical workspaces to improve collaboration, business

output and increased productivity, Vega’s partnership with Aura is a solid opportunity to support our clients more holistically and globally.” “Vega and Aura share the same passion for unified communications and collaboration to enhance productivity in the workplace,” said Alpesh Unalkat, Aura’s CEO. “Together, the combined strengths of Aura and Vega offer greater capacity to deliver the best possible service at a global level, and the opportunity to maximise the benefits of connected workspaces which support wider business objectives.” www.aurafutures.com www.vega-global.com

www.adlib.co.uk www.arup.com www.l-acoustics.com

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NEWS: BUSINESS

EESA and KEMA launch Joint Working Committee INDIA

In a first of its kind move, members of the Event Services Association (EESA) working committee formally met with the counterparts of the Karnataka Event Management Association (KEMA), and agreed to come together to form a Joint Working Committee (JWC) with three representatives from each association. They will work together in addressing the common concerns of the event management and technical fraternities, while also acting as a unified voice in representing the entire event fraternity in Karnataka when

communicating with the government and chambers of commerce. KEMA nominated Srikant Kanoi (vice president – KEMA, director – Ethereal Celebrations Management), Pradeep Naik (general secretary – KEMA, MD – Fuel India) and Ashwin (member EC – KEMA, GM marketing – DNA Networks) to represent the association within the JWC, whereas EESA nominated Vinod Bangera (joint secretary – EESA, director – Systematic), Raghav R (member – EESA, director – Ledvision) and

Shankar Devraj (member – EESA, director – Firstake Productions) to be the active participants within the JWC. EESA president – Felix Remedios – is optimistic about the JWC’s potential to breathe positive winds of change within the event industry. “The Joint Working Committee between KEMA and EESA is a monumental achievement that exemplifies the commitment and intent of agencies and technical service providers to come together as one united industry and work cohesively for the mutual

benefit of both fraternities. We view this as the first significant step in standardising the event industry in Karnataka, and consequently moving towards consolidating events and entertainment as a government-recognised structured industry. We thank KEMA for sharing our enthusiasm and extending their unequivocal support in making the JWC possible, and we look forward to this initiative acting as a beacon of inspiration for the entire events industry across India.” www.eesa.in

Audinate acquires video arm of Silex Insight WORLD

Audinate has signed an agreement to acquire the video business of Belgiumbased Silex Insight SA, which produces video networking products for AV equipment manufacturers. The acquisition includes a range of AV-over-IP products, including IP Cores, the Viper Board, Video ASSP and Design Services, as well as three Silex implementations of video codecs: Colibri, JPEG 2000 and VC-2 HQ. The move will allow Audinate to accelerate its strategic vision for integrated audio and

video-over-IP as well as increase video FPGA expertise within the company.

“Since the development of our first Dante AV product, we have been committed to bringing the simplicity and interoperability of Dante to the video-over-IP market,” stated Audinate co-founder and CEO, Aidan Williams. “With this acquisition, we are doubling down on that strategy. The video codecs and deep product expertise in the team, in combination with our Dante networking technology, will enable us to go to market with a variety of full-service video offerings.” “Audinate is an excellent new home for our video team, customers and suppliers as

there is a unique complement in know-how, competencies and expertise,” commented Michel Van Maercke, CEO of Silex Insight. “Moreover, we see a great cultural fit and a similar customer-oriented mindset, which is critical for the success of an integration post acquisition. I am confident that the Silex video team will do very well as part of Audinate and will make a true difference in the exciting pro AV market.” www.audinate.com

d&b XSL to clean up your room in Singapore down to 60Hz, critically reducing rear spill and improving direct sound, intelligibility and headroom – the basis for the “clean up your room” motto widely used by d&b along with XSL. Meanwhile, Schulz focused on the system approach behind XSL, including the recently introduced D40 amplifier platform. Combining with ArrayCalc and NoizCalc software, DSP and networking technologies can lead to an outstanding efficiency of the entire XSL system and, as Bayer put it, “currently the best performance-to-size ratio in the sound reinforcement market”, with flexible and easy rigging options as well as dedicated subwoofers equally beneficial for both mobile use and installations.

Two 12-element hangs of XSL cover the 2,155-seat theatre SINGAPORE

d&b audiotechnik Asia Pacific officially launched its XSL line array system in Singapore during an event held at the Marina Bay Sands Theatre, attracting over 80 local audio professionals. The latest addition to the SL series, XSL is aimed at mobile and installed applications alike and, albeit much smaller and lighter, set to impress with the same features as its larger siblings, GSL and KSL.

Before d&b application and education manager Gert Sanner conducted listening tests through two 12-element arrays of XSL, he was joined via Zoom from d&b’s headquarters in Backnang, Germany, by product managers Werner “Vier” Bayer, Wolfgang Schulz and head of R&D acoustics, Matthias Christner. The three, with an accumulated 75 years of work experience at

d&b, led through R&D, concept, features and benefits of XSL. Bayer and Christner elaborated on d&b’s recent cardioid designs as found in the SL series, including the XSL8 and XSL12 with their two each 8-inch front and 6.5-inch side-facing LF drivers. The result claims to be exceptional broadband directivity control across the entire frequency range, all the way

d&b Soundscape demo with string quartet

8 PRO AVL ASIA March–April 2022

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NEWS: BUSINESS

Exterity rebrands to VITEC WORLD

Exterity has officially rebranded as VITEC, marking a key milestone in the integration of both companies, following the acquisition in April 2021. The strengthened organisation will have new branding, incorporating the Exterity orange into the VITEC logo, giving a new look to accompany the change. “Since the acquisition, a lot of work has been going on behind the scenes – integrating business processes, gaining deeper understanding of the combined product range and bringing our teams together,” said Colin Farquhar, senior vice president of sales at VITEC and former Exterity CEO. “We have been focused on coming together as ‘one VITEC’, exploring product integrations and shared technologies to best serve our customers. We couldn’t be prouder to be part of the VITEC team, and we look forward to an exciting future.” The combined company now has 375 employees across 16 countries, and work is ongoing towards maintaining and expanding upon the investment in Exterity staff and locations. VITEC has acquired Exterity’s building in Dalgety Bay in Fife, Scotland, with a view to expand operations this year. Furthermore, the Dubai-based team is moving to newly purchased premises in the Indigo Icon Tower in the DMCC Free Zone, vowing to expand its Middle East team further.

“It is my personal belief,” d&b president APAC Anand Narayanan concluded, “that XSL is going to be one of the most pivotal products in the market.” Attendees of the event were also able to experience a d&b Soundscape demonstration. Led by application engineer Gareth Kelbrick, the session provided technical background information, playing recorded samples of object-based audio and, as special “ear candy” with En-Space room simulation, the live performance of a string quartet.

VITEC will launch its first jointly developed product, a next-generation transcoder – Prism – which enables IP video content to be easily converted into the right format to suit a wide range of devices and applications.

SMALL BIG

“When we acquired Exterity, our intention was to accelerate growth and strengthen our leadership position as an IPTV, video streaming and digital signage provider for corporate, government, military, venues, hospitality and

broadcast customers,” said Philippe Wetzel, CEO, VITEC. “We knew the many natural technology and customer synergies between the two companies would enable us to extend our reach into new geographies, market verticals and partners. We have enjoyed the collaborative process of finding out more and learning from each other over recent months. It’s clear that the strategic acquisition will be hugely beneficial, and I’m delighted that we are now all one VITEC, working together to achieve our goals.” www.vitec.com

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NEWS: BUSINESS

ISE to tackle ever-changing worlds of EdTech and Unified Communications WORLD

With hybrid and remote working and learning solutions more crucial than ever, visitors at Integrated Systems Europe 2022 will be able to see the latest innovations in the communication and collaboration sector and discover tools that will make meetings more effective, ensure students can learn from anywhere and create equity for inperson and remote participants. Visitors can register for the Digital Learning Summit on the afternoon of 11 May, which focuses on hybrid learning as well as how AR, MR and XR are helping to deliver everything from just-in-time learning to more authentic assessment. The summit will explore the full scope of the transformation currently occurring across education. Content chair and programme director at IMS Global Learning, Gill Ferrell, said: “We want to inspire education leaders with a vision of the benefits that digital transformation can bring, and we aim to achieve this by showcasing and discussing examples that are aspirational but achievable. Also, our success stories are based on technologies and standards that are readily available to learning providers in all parts of the education sector.”

The Unified Communications and Education Technology Zone in Hall 2 will be a good starting point for anyone interested in this technology.

Dmitry Odintsov, CEO at TrueConf, a company also featuring in the Education Zone, said: “We’re confident that the upcoming spring in

HP, Avocor and NEC will be present, showing their product portfolios catered towards remote/hybrid learning and bringing people together regardless of learning methods.

Barcelona will be marked by such a longawaited tradeshow that will finally bring global AV industry professionals together despite ever-changing epidemiological conditions.”

Of course, effective meetings require highquality audio too and that’s where Shure comes in, with its Microflex Ecosystem and Stem Ecosystem portfolio. For education settings, Nureva is set to debut an integrated combination of audio, video, device management and product services. The Unified Communications and Education Technology Zone in Hall 2 is one of six Technology Zones that group together exhibitors in the major technology areas, making it simple for delegates to plan their visit to find and compare the wide variety of solutions they need for their integration projects. ISE is teaming up with IOT Solutions World Congress (IOTSWC) at the Fira de Barcelona in May, to present an ecosystem for digital transformation to professionals from several industries. The joint celebration of the two events is said to provide a crossroads between two different sets of disruptive technologies. IOTSWC will bring together experts and companies working on AI, Digital Twins, Internet of Things and Quantum Computing. www.iseurope.org

CMI finds its place in the sun AUSTRALIA

Almost a decade has gone by since CMI Music & Audio opted to install LED lighting into its Brooklyn headquarters just outside Melbourne. The small investment led to an overnight 30% reduction in electricity bills for the long-established distributor of Harman Pro brands together with Adamson, Fohhn, Tascam and Universal Audio. The decision to install solar panels for generating its own electricity followed in 2018. CMI executive director and CEO, Peter Trojkovic, commented: “I was watching the time it took for a solar system to pay

Peter Trojkovic

for itself drop and drop over the years. We made the decision to invest when that period hit around five years and now it’s down to four years or less.” With panels installed on the roofs of multiple buildings at its site, including the office, warehouse and sheds, the 57kW system generates more than its current requirement. Without taking inflation or electricity price rises into account, the electricity bills are now 40% of what they were in 2013. Five of the six electric forklifts are recharged from the solar array and the team is currently investigating battery storage options. Air

conditioning continues to be the single largest electricity expense. CMI conducted a lot of research prior to the installation and Trojkovic advised caution before investing. “Our solar panels are European, and our inverters are USmanufactured. The bottom line is, if you can pay for it over four years, you then get at least another six or more years of electricity free. Now, it wasn’t a cheap exercise, but I felt it was something we had to do as an environmentally responsible organisation. It was a matter of not if, but when.” www.cmi.com.au

L-Acoustics and Mixhalo enter strategic partnership WORLD

L-Acoustics has announced that it has become a major investor in Mixhalo, as well as the exclusive audio professional partner of the San Francisco-based company. Founded by Incubus guitarist and songwriter Mike Einziger and violinist Ann Marie Simpson, Mixhalo enables live event organisers to give audiences lowlatency audio, delivered directly to their phones and headphones via the mobile app. Since 2019, the companies have collaborated on residencies by Aerosmith and Sting, as well as major sports venues, using L-ISA Technology as well as the Mixhalo app.

The partnership will foster cooperation and co-development between L-Acoustics and Mixhalo to create hybrid solutions that combine sound reinforcement from loudspeakers and wireless audio signals sent via Wi-Fi or 5G. L-Acoustics will provide guidance to support Mixhalo’s organic growth and participate in strategic discussions via the appointment of a board of directors. “I’m convinced that hybrid solutions for live events will bring unique immersive experiences to audiences everywhere,” explained Guillaume Le Nost, executive director of creative technologies at

L-Acoustics. “Whether to improve coverage in hard-to-reach seating areas, offer additional content like sports commentary at a game or create a unique and personal experience onstage like Mixhalo did for Aerosmith fans,

the potential is bound only by the shared imagination of our development teams.” www.l-acoustics.com www.mixhalo.com

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NEWS: DISTRIBUTION

MI Engineering made Adam Hall’s Thai distributor

THAILAND

Having earned a reputation as an audio specialist in the live sound, installation, studio and home entertainment sectors since 1994, MI Engineering has expanded its portfolio with the addition of LD Systems’ pro audio solutions and Gravity

stands. As part of the Mahajak Group, the Bangkok-based distributor currently represents Crest, Peavey, Powersoft and Waves Live. “We are very much looking forward to working with Adam Hall Group,” commented

MI Engineering MD, Chaivut Charnmanoon. “LD Systems and Gravity meet all the criteria to be successful in the Thai pro audio market – from the high-quality design to the exceptional reliability of the products, which have fully met our expectations of German development standards.” Previously represented by Siam Music Yamaha, the switch to MI Engineering was initiated by Adam Hall Group business development manager, Glenn Lin. “The Thai market offers enormous potential for LD Systems, Gravity and the entire Adam Hall Group,” Lin suggested. “We are pleased to have gained an experienced and renowned partner in MI Engineering, who knows the requirements of the Thai market and the users there. They have successfully proved in the past how to establish and expand top international brands from the pro and consumer audio sectors. With our recent distribution partnerships in the Asian region – StageMix in India, SonicValue in South Korea and now MI Engineering in Thailand – we believe we are very well positioned for APAC.”

Tripleplay ascends its reach with Japanese partnership JAPAN

Video, IPTV and digital signage manufacturer, Tripleplay, has partnered with Ascent Japan, which will see the latter company resell Tripleplay solutions throughout the region. Founded in Osaka in 1981, Ascent relocated to Tokyo, and has been led by CEO Kenji Kikoshi since its

www.adamhall.com www.gravitystands.com www.ld-systems.com www.mi-engineering.com

Voice-Acoustic comes to Vietnam VIETNAM

Voice-Acoustic has announced a strategic agreement with QV Sound, which will see QV Sound serve as its exclusive distributor in Vietnam. Based in Ho Chi Minh City, QV Sound distributes many international brands throughout Vietnam and, with expertise in the pro audio and entertainment market, its support team also provides technical support and service to system designers and installers. “After hearing the introduction and demonstration at Prolight + Sound 2019 in Frankfurt, I was deeply impressed by the quality, performance and craftsmanship of the Voice-Acoustic products. Since then, we have closely followed VoiceAcoustic’s further development and are very enthusiastic about their innovative loudspeaker solutions,” said Quoc Nguyen, business development manager of QV Sound. “The aesthetic design of the speakers is compact but delivers a high level of efficiency and performance – Alea-4 and Score-5 are perfect examples. I think Voice-Acoustic fits very well into the QV Sound portfolio to meet the demands of high-end customers: superior sound quality,

The QV Sound team convincing price/performance ratio and strong support. The QV Sound team and I look forward to establishing the VoiceAcoustic brand in the Vietnamese market.” “We are very pleased to welcome QV Sound as a new distributor for VoiceAcoustic in Vietnam,” said Jürgen Bachthaler, international sales manager of

Voice-Acoustic. “The market has changed dramatically due to the Covid-19 crisis. However, this change also offers the opportunity to expand business fields and open up new ones.”

the opportunity for NewTek with HVS. We have longstanding, existing partnerships in China and see HVS as an important strategic addition. This is an exciting development for NewTek as we wanted a partner that fully understands the pro AV markets together with a deep knowledge and understanding of indirect channels. I believe HVS’s depth of experience in the space will accelerate NewTek’s

development in China. Their background in pro AV markets made HVS the obvious choice.” Moses Yeung, general manager, HVS, concluded: “We understand that China presents such a huge opportunity for NewTek and we are very excited to be chosen to enhance their channel network. We know that NewTek has always been very active in the broadcast space in

inception. With experience in delivering solutions for clients in stadia/arena digital signage, Ascent is said to be an ideal partner for Tripleplay with its customer-focused reputation aligning neatly with the manufacturer’s focus on building strong, long-term customer relationships. Tripleplay CEO, Steve Rickless, commented: “It’s great to work with a company that has strength and depth of expertise and intends to pursue further growth. As we strive to maintain our position as leaders in our industries and the markets we service, partnering with a like-minded company with similar strategic goals can only guarantee mutual success.” Kikoshi said of the partnership: “Working with an experienced company to expand the reach of what we do at Ascent, has proven to be a beneficial partnership. We look forward to the work we will do in the future with Tripleplay.” www.ascent-jp.com

www.qvsound.com

www.tripleplay.tv

www.voice-acoustic.com

NewTek strengthens ties in China CHINA

NewTek has recently signed Beijing Hitevision Intelligent Solutions (HVS) as an additional distributor for China to further build its channel partner network in the region. HVS will focus on education and corporate markets, utilising its heritage as well as its extensive network of offices and partners across the country. Xie Xiaoqing, NewTek country manager, China, said: “We are very excited about

China; however, our products and services are more focused on other sectors. HVS have extensive experience in these growth markets and NewTek products add significant value to our existing products and service offerings. We are very excited to be involved in developing these new markets with NewTek.” www.newtek.com

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PERSONALI

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NEWS: DISTRIBUTION

When Adamson met India South Korea’s Ingang Audio joins the gang

Q S

KOREA

Seoul-based Ingang Audio has been appointed as South Korean distributor for Optocore and associated brand, BroaMan, with immediate effect. Under president Joo Hong Chang and CEO Steve Kim since 2006, Ingang Audio has a portfolio of global pro audio brands, including Meyer Sound, Calrec, Countryman, Samson and Lectrosonics. Both Chang and technical director, Eric

agreement: “We now have optical paths for sending and receiving audio/video/ intercom and some control signals. Also, it enables us to make an optical connection between loudspeaker, processor and console, replacing the existing cables.” BroaMan hopes to expand its brand outreach beyond broadcast into theatre, although Min estimates that due to Covid-19, the broadcast segment will lead

Loud appo distri comp built

L–R: Jatin Kapoor and Lokesh Kapoor from Lokjat Audio Visual INDIA

Two production companies from Delhi – Meraki Brand Services and Mascot – have joined the Adamson Network after investing in eight S10 line array enclosures and six E119 subwoofers. The new system is powered by Lab Gruppen PLM20K44 amplification and Sommer Cable Elephant SPM840 cables. “As an organisation dedicated to creating unforgettable events for a wide range of clients and different industries across India, we are constantly updating our technology and design solutions to deliver best-in-class partnerships to our clients that simply stand out. The new Adamson system enables us to accomplish this,” explained Abhinav Talwar from Meraki. Monty Khanna, director of Mascot, said: “The tremendous output combined with its compact nature and simple rigging make it a very valuable addition to our inventory. We’re thrilled to be part of the Adamson Network.” Delhi-based Lokjat Audio Visual has also acquired eight S10 line array enclosures and six E119 subwoofers from Adamson, along with Lab Gruppen PLM20K44 amplification. “We have several brands in our portfolio, but we felt we needed Adamson as it is a cut above the rest when it comes to innovation and technological advancement,” said Jatin Kapoor, director of Lokjat Audio Visual. “Our goal is to consistently provide our customers

with the best possible value, quality and service in each and every component we present, and that’s what informed our decision to invest in Adamson.” Finally, Showmakers Event & Entertainment has invested in eight Adamson S10 two-way, full-range array cabinets, after seeking a more flexible and scalable solution that could cater for a wider variety of events. Having joined the Adamson Network in 2019 after acquiring E12 three-way line array cabinets and companion E219 subwoofers, the company decided to expand its inventory to serve its growing client base. “The E-Series system has excelled every time we’ve used it, in every application,” said Showmakers Event & Entertainment owner, Harry Kaushik. “The S10 is the perfect cabinet to round out our package. It is strikingly powerful and has the same intelligibility and sonic signature we’ve grown accustomed to with Adamson Systems. The quality of sound when transitioning from the E12s to S10s is super smooth and consistent throughout. The S10 is a perfect fill for the E-Series and brings forth the same musicality, even when standing on its own.” www.adamsonsystems.com

Colin

S w in Ingang Audio CEO, Steve Kim Han, have known of Optocore and BroaMan for several years, with Han even receiving Optocore training. The company also developed a good relationship with Optocore distribution sales manager, Dawid Somló, through working together over the years. “Ingang had been talking with us for a long time,” said Somló. “They are an excellent pro audio company with a good infrastructure. They are keen to develop their portfolio with our video transporting systems.” Ingang Audio’s senior marketing manager, Jake Min, said of the distribution

over live events for the foreseeable future. The companies already have a project lined up, with two sets of Optocore M12 OPT/BNC MADI switches being installed in a large broadcast hall, for splitting and sending MADI signals to several consoles for PA, broadcast and stage monitoring. Min concluded: “They are a very experienced brand that we firmly believe in.” www.broaman.com www.ingangaudio.com www.optocore.com

www.lokjat.com

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NEWS: DISTRIBUTION

QSC turns to Singapore’s LTA SINGAPORE

Loud Technologies Asia (LTA) has been appointed by QSC as the exclusive distribution partner in Singapore for the company’s Live Sound division. LTA has built a solid reputation based on excellent

customer service, support and training in the region. Previously under the stewardship of Sindo Exports, QSC APAC business development manager Paul Lee explained: “We are extremely pleased to welcome and partner with Loud Technologies Asia as a distribution partner for QSC. Their expertise in online retail, logistics and their commitment to customer experience make them a great fit for QSC in the region.” “The young, dynamic and ecommerce-savvy team at LTA is very excited to be able to partner with QSC in Singapore and support growth in both the online and traditional sales channels,” added Loud Technologies Asia MD, Colin Quek. www.loudtechnologiesasia.com

Colin Quek of LTA

Televic comes to Thailand THAILAND

Televic Conference has announced that Vichai is its new exclusive distributor for Thailand. Vichai has been serving the Thai AV market since 1983 and has built a solid reputation as a full-range AV distributor with professional in-house technical support and after-sales services. By joining forces, both parties believe they have secured a strong foothold in a rapidly evolving market. Thaweesak Thamsirisup, president of the company, noted: “I am very delighted to see this partnership with Televic. I strongly believe that with our over 38 years’ experience in the conference market, Vichai Trading will make Televic’s presence much stronger in Thailand.” “With this agreement, Televic Conference strengthens its position in Thailand, one of the fastest growing markets in Asia,” added Koen Van de Perre, Televic Conference’s

Thaweesak Thamsirisup business development manager for Asia Pacific. www.televic.com www.vichai.group/vichai-trading

www.qsc.com

Sonifex partners with JAA Systems in Malaysia

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Marcus Brooke MALAYSIA

JAA Systems has been appointed as a key distributor for Sonifex’s range of professional products in Malaysia and Brunei. Combining the provision of cutting-edge solutions with full service and after-sales support, the Subang Jaya-based business has been an established distributor for Calrec, Merging, Orban, Prodys and many others since 2014. “Sonifex possesses great lineage,” commented managing director, David Chan. “They have been designing and manufacturing a full range of broadcast audio equipment for radio, TV, security and telecommunications industries for over half a century. The

appointment is a great recognition of JAAS’ strength and expertise in the broadcast and AV markets with their evolving Dante network interfaces.” In addition to working with JAA Systems, the UK brand is also represented by Stagetec Asia. “We’ve worked with David Chan before and know the excellent service he provides to his customers,” added Sonifex MD, Marcus Brooke. “With our expanding range of Dante products, we’re looking to expand more into the Malaysian market and JAA Systems can give us the push we need.” www.jaasys.com www.sonifex.com

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NEWS: APPOINTMENTS

Ayumi Hanano to front d&b audiotechnik’s Soundscape JAPAN

L–R: Harro Heinz, Monika Smetona and Ralph Heinz

Smetona steps up as Harro Heinz retires WORLD

Renkus-Heinz has announced the appointment of Monika Smetona to the role of president, following the news that Harro Heinz has retired. Currently serving as CFO of the company and a member of the Heinz family, Smetona will take over from her father, while collaborating with Ralph Heinz, CTO, to lead the company going forwards. Commenting on the appointment, Harro Heinz stated: “At Renkus-Heinz, Monika has worked her way up from handling finances and HR to now maintaining the smooth running of the factory. She has become central to our organisation, our culture and our continued success, and I am confident that together with Ralph, she will keep us on the same positive trajectory for the next phase of our development.” Echoing this sentiment, Ralph Heinz noted: “Monika Smetona is the ideal candidate for president. She has the fiscal conservatism and discipline along with strengths in operations and human resources. To complement Monika’s duties, I will continue as CTO to provide

future-looking vision and to ensure continued innovation.” Smetona stated: “As I step into this role, I walk in the footsteps of one of the industry’s most accomplished executives. I welcome the challenge and I look forward to collaborating with our strong team to forge a new period of sustained innovation and growth at Renkus-Heinz.” Harro Heinz added: “Looking back at more than 40 years with Renkus-Heinz, there are many current and former employees whose help was critical to get us to where we are. From the bottom of my heart, I am very thankful for their contribution, and I am blessed that both my son and my daughter are interested in the business and are well-equipped to accelerate the growth, while keeping it a private enterprise dedicated to creating a better sound solution. I am fortunate that I will continue my involvement with Renkus-Heinz through my board of director position.” www.renkus-heinz.com

d&b audiotechnik has appointed Ayumi Hanano as Soundscape business development manager for Japan. In this role, Hanano will be supporting Japanese users of the German audio brand on both the technical and commercial aspects of d&b’s Soundscape system. Given her extensive experience in the Asia Pacific region, Hanano will also be providing additional regional support. Based in the d&b office in Yokohama, Hanano will report to both d&b Japan managing director, Hideki Yajima and d&b APAC president, Anand Narayanan. “We have seen success with both Soundscape and SL-Series throughout Japan, and Ayumi joins us at a great time to help build on this momentum and develop the markets further,” commented Yajima. “Ayumi has a wealth of knowledge and experience throughout Japan and the APAC region. She will be working closely with end customers, systems integrators and content creators to help demonstrate the advantages and creative opportunities that our technology offers.” Having started her career as a sound engineer in Japan, Hanano was a respected industry figure supporting the APAC region as the education and support coordinator for Adamson. “I am incredibly excited to join d&b,” commented Hanano. “Their comprehensive product portfolio has always stood out, addressing marketspecific applications and challenges. Importantly though, in addition to d&b’s industry-leading technologies, there is a seasoned global team behind the brand, which speaks for the collective knowledge base of the company. Having experienced Soundscape, I am convinced the technology is a game-changer. I look forward to working closely with our

Ayumi Hanano Japanese and APAC customers to help further build on Soundscape’s successes in the region. I couldn’t have asked for a better start to 2022.” “Over the last few years, d&b has seen massive growth in APAC, where our technologies – in particular, Soundscape – have allowed individuals to realise the potential of what is possible,” added Narayanan. “With her expertise and strong industry relationships, Hanano will be a vital asset to us in educating the market even further, and I am very pleased to welcome her onboard.” www.dbaudio.com

APAC

the North Asia market for media and web technologies for many years, a key focus for this role will be building relationships with partners and ensuring consistent growth as Pixotope expands further across the region.” With more than 20 years of industry experience, Tan joins Pixotope as its new vice president, APAC. Based out of Singapore, Tan’s most recent role was at Shutterstock. Prior to that, he worked at Ross Video, Kramer Electronics and Avid. In his role at Pixotope, Tan will spearhead the development and growth of the APAC team and strengthen the brand in the region. Tan said: “Pixotope designs and develops the tools that our customers need to bring their creative vision to life. I look forward to being part of their journey as we push the boundaries of production and produce amazing content.” Matthew Ma

Andrew Tan

www.pixotope.com

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Pixotope appoints two spearheads for Asia growth Pixotope has announced two new appointments in its Asia Pacific leadership team: Matthew Ma as general manager and Andrew Tan as vice president. These posts reflect a strategic expansion by Pixotope across global media and entertainment markets as live broadcast virtual production sees international growth. Ma, former employee of Amazon Web Services and Avid, joins the company as general manager for North Asia. Ma will be directly responsible for driving regional sales and advising on the regional functions of marketing operations, including developing distribution channels and building strategic relationships. The key locations for North Asia include China, Hong Kong, Taiwan, South Korea and Japan. Ma stated: “I am delighted to start a new chapter with Pixotope in this exciting period for Virtual Production. Having worked with

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NEWS: APPOINTMENTS

K-array appoints Dham to further APAC reach APAC

K-array has announced the appointment of Sidharth Dham as its new area sales manager for Asia Pacific. He is an Indian national living in Paris, with international experience with audiovisual technology companies. Previously working at Italian Sound Design India (ISD India), Dham was then asked to develop and build the K-array brand into further territories in Asia. His responsibilities have been expanded to include connectivity, business development and piloting a series of moves into new business areas, with a focus on vertical market segments. Marc Vincent (former area sales manager of APAC) will continue to manage India, Pakistan, China and Hong Kong for the foreseeable future, while Dham will be responsible for developing the rest of APAC. President of K-array, Alessandro Tatini, said of the appointment: “We’re delighted

to welcome Sidharth Dham as our new area sales manager for Asia Pacific. His deep understanding of the brand, our products combined with his business-building and leadership skills, will further strengthen K-array in Asia.” Dham commented: “It’s a special honour to be joining K-array in such an important role and I do so with an equal sense of excitement and responsibility – excitement at the great opportunities that are there to be captured and a profound sense of responsibility towards the extraordinary achievements and capabilities of the men and women of K-array, to all the company’s stakeholders and to everyone around the world for whom K-array is such a unique passion.” Sidharth Dham

www.k-array.com

Asia as a regional sales manager and for China Jingye Engineering Corporation as a senior commercial manager, where she played a key role in major projects for clients such as Universal Studios Beijing, alongside Powersoft’s Chinese distributor, EZpro. Hu said: “I believe my participation can really enhance the influence of Powersoft and its potential to flourish in new markets. I’m looking forward to using my knowledge

of the AV industry to enhance Powersoft’s brand to a wider audience.” “We are very excited to welcome Abby to our team at Powersoft,” commented Luca Giorgi at Powersoft. “Her regional expertise in business development will be invaluable for this position. We look forward to working alongside Abby to further our growing commitment in China.”

More power to Hu CHINA

Powersoft has announced the appointment of Abby Hu to the newly created role of chief representative officer in China, where she will be responsible for growing brand awareness throughout the country’s market. Bringing over 10 years of experience in the AV industry to the role, Hu previously worked for a systems integration company specialising in conference, broadcasting and theatre. She has also worked at AMX

Abby Hu

www.powersoft.com

Ross Burling returns to Absen

Jamieson joins Group Technologies

Ross Burling, an authority within the LED display solutions sector, has returned to Absen in the role of industry development director for OOH (out-of-home) and sports. With 20 years of experience in the LED market and having previously served as Absen’s business development manager for the UK, Ireland and Nordics, Burling will be an integral member of its Global Cooperation Department (GCD). “The opportunity to be part of the GCD team in a new European role was too good to miss. With my previous knowledge and experience of working for the leading global LED vendor that is Absen, I had to say yes to this role,” commented Burling. Burling’s CV includes major LED installations in retail, leisure, corporate, transportation and stadia environments. He says he will bring his substantial expertise in the sports and OOH verticals to his new role at Absen. As a member of Absen’s GCD team, Burling’s primary objectives will be collating market-specific information, working closely with the global key accounts team and other partners, and supporting Absen’s European regional business units to deliver LED solutions. Based in the UK, he will report to Ruben Rengel, Absen’s senior vicepresident of global business development.

Due to continued growth in both the technical and digital mixing markets, Group Technologies (GT) has appointed Scott Jamieson as its new technical products manager. With 30 years of experience in pro audio, Jamieson’s technology-focused background ensures an understanding and ability to assist with much of GT’s portfolio, with DiGiCo at the forefront. Jamieson’s early years were spent in community radio and running mobile PA/ DJ setups, before beginning a sales role at Audio Oz, and then audio products manager at Soundcorp, eventually transitioning to a sales executive role specialising in media and entertainment. During his time at Soundcorp, Jamieson ran DiGiCo demos at the GT booth during local and international tradeshows. “My first experience with a DiGiCo console stretches back to 2006 with the Soundtracs DS3, where it was love at first sight. I’ve been a keen DiGiCo advocate ever since. And now, after spending 30 years as a ‘generalist’ reseller, I’m able to take advantage of this opportunity to become a product specialist. I’m looking forward to doing a deep dive into a series of systems and technologies that I’ve been

WORLD

Ross Burling “We are delighted to welcome Ross back to Absen, where his expertise and experience will be invaluable in driving growth across sports and OOH and supporting our customers in those markets,” said Rengel. “Working with both internal and external partners, Ross will play an important role in helping to deliver our solutions to clients across Europe.” www.absen-europe.com

AUSTRALIA

Scott Jamieson passionate about for a good portion of my career,” explained Jamieson. “After working with Scott in various roles for over a decade, his passion for audio and his exceptionally professional work ethic can’t be overstated. We are very excited to see Scott become an instrumental member of the team, and we are delighted to welcome him onboard,” said GM at Group Technologies, Anthony Touma. www.grouptechnologies.com.au

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NEWS: APPOINTMENTS

Walter goes worldwide with AV Stumpfl

Jan Walter WORLD

AV Stumpfl has announced the creation of a new management position inside its screen sales department, which sees Jan Walter made global business manager, screens. Having begun his AV industry career as a field application engineer, he recently worked

Andy Lee to manage APAC sales for Datapath APAC

Datapath has announced salesperson Andy Lee has been promoted to senior international sales manager, supporting the company’s management and development of OEM, distribution and developing customer relationships throughout the EMEA and APAC regions.

as a senior regional sales manager for an international technology manufacturer. His new role will be to expand AV Stumpfl’s international screens distribution network. Walter explained the reasons for taking on the new role: “Ever since I started working in the wider area of projection technology, AV Stumpfl screens have been a household name. I always associated their products with the highest quality possible and a great drive towards innovation. I see great potential for expanding the existing distribution network further and am looking forward to tackling this exciting challenge.” Stefanie Niederwimmer, AV Stumpfl‘s executive director of screens, said: “Due to his great knowledge of both the products and the wider AV industry as such, Jan Walter is perfectly suited for taking on this new role and to support our screens team.” www.avstumpfl.com

Ayrton selects Vijay Thaygarajoo for Asia APAC

Ayrton has announced the appointment of Vijay Thaygarajoo as regional sales manager for Asia Pacific. Thaygarajoo brings over 10 years of industry experience in the region, working with Ayrton’s local distributor and as regional sales

manager for several industry manufacturers. “As the regional sales manager of Ayrton, I will be responsible for maintaining and building relationships with current distributors, as well as appointing new distributors around the APAC region, with the aim of progressing and further strengthening the Ayrton brand and image in this part of the world,” said Thaygarajoo. “Vijay’s experience makes him extremely wellplaced in his new role as our APAC regional sales manager and a valuable addition to the team,” added Ayrton’s global sales director, Michael Althaus. “To have our own regional representative working in tandem with our excellent local distributors is a great combination which will strengthen Ayrton’s presence across the region and reinforce the level of service we are able to give our customers. We are very happy to have Vijay on the team.”

Vijay Thaygarajoo

www.ayrton.eu

Jatan Shah named as QSC president and COO WORLD

QSC has announced the promotion of Jatan Shah to president and chief operating officer. In addition, Joe Pham has been named chairman and CEO. “Jatan has made a tremendous impact on QSC and the AV industry, working smartly with leaders across QSC to build new capabilities, increase scale and guide many strategic initiatives to success across our growing multinational organisation,” commented Pham. “His persistence, patience and vision have not only guided our company but also our people to become stronger and more resilient. Jatan

exemplifies the company’s core values, which guide our thinking and actions, and is the ideal person to help lead QSC into its next chapter of success.” Having joined QSC in 2010 as chief financial officer, Shah has since taken on additional responsibilities in various aspects of the business. He most recently served as executive vice president, chief operating and technology officer, where he led product strategy and development, operations, finance and IT. Shah said: “I look forward to continuing work with Joe, our executive team and founders to

Jatan Shah deliver on the promise of QSC, to capture new opportunities and continue to help guide our company and business as we explore the many new opportunities ahead of us in the markets and applications we serve.” www.qsc.com

Meyer Sound makes moves in product management WORLD

Andy Lee Phillip Davenport, director of sales and operations, Datapath, said of the appointment: “Working alongside Andy, we have a superb team of industry professionals in place and, together, we look forward to the future with great optimism.” www.datapath.co.uk

Meyer Sound has announced the promotion of Andy Davies to the position of senior product manager as well as the appointment of Gautam Sharma to the newly created role of product manager. In his new post, Davies will assume responsibility for managing the entire Meyer Sound product portfolio, including overseeing new product development, defining product features and supervising product launches, as well as coordinating the product management efforts related to engineering, training and product support teams. As the new product manager, Sharma will provide cross-functional support of all technical and go-to-market aspects of products, including loudspeaker hardware, electronic modules and software. Sharma will ensure the loudspeaker product development and life cycle is integrated within the larger scope of Davies’ work.

Andy Davies

Gautam Sharma

Sharma brings a passion for high-quality audio along with years of experience in management of digital infrastructure and the leadership of diverse teams. While Davies will remain based in the UK, Sharma will work from Meyer Sound’s Berkeley headquarters. “With Andy and Gautam at the core of our product management team, we have an ideal balance of talents,” said director of global

marketing, Tim Boot. “As a veteran of the pro audio industry, Andy has direct connections to our customers and an intimate understanding of their needs. Gautam’s exceptional skills in digital infrastructure management and business analytics are critical as Meyer Sound continues to grow and expand in scope.” www.meyersound.com

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NEWS: SPECIAL REPORT

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company’s hardware and software is used in presidential palaces and defence hubs across the world and in businesses both large and small, in every continent. The company’s chief technology officer, John Storey, has been developing video processing technology for over 30 years. With a wealth of patents to his name and unparalleled experience in transferring video data, he explains where he thinks control room operation is heading, and what we can expect technology to deliver in the near future and beyond. “The one thing we can say is that what hasn’t changed is the fundamental role of a control room: its purpose is still, after all this time, to bring lots of visual information together and to present that to operators so they can make informed decisions,” he says. “That part of it is a constant. What has changed is the way that information is brought in and how it’s disseminated and shared. So, if you go right back, originally, sharing was all about putting everything on one large canvas – the control wall. And sharing meant being in the same room as that wall. So that was as far as it went.” Today’s technology means that systems integrators and operators are no longer limited to the constraints of matrix switches, with networked systems bringing a level of flexibility not previously seen. “As media has become more routable – and that’s very much thanks to AV over IP – you can bring that information together in front of those operators in many different ways,”

adds Storey. “And with those advances in display technology, a lot of that can now be shared at operator workstations, and beyond if necessary.” To meet the needs of the growing complexity in control room environments, Datapath has brought to market a platform that is as suitable for modest control rooms as it is to large, multi-source and multi-site organisations – able to design, manage and monitor entire systems from a single interface. Named Aetria, this platform provides a central interface for all configuration and control, bringing numerous benefits to efficiency, reliability and the ability for full and fluid collaboration. Storey explains: “We have developed a solution that allows these workstations to operate as their own ‘personal videowall’ – displaying any content as they see fit – as well as being able to share anything to any display in the control room environment, or even externally.” Quite clearly, the need for pristine quality video is paramount on all displays; as mentioned earlier, it’s the detail that can sometimes be the difference in vital decision making. Storey and his team have developed a world-first technology that allows optimum quality video to be shared over 1Gb and 10Gb networks simultaneously, with no visual impact on latency and image quality. A 4K video source can be viewed and shared in full quality 4K, while also being transferred in HD more widely across a low-bandwidth network, for example.

While moving data over IP networks promises new levels of flexibility, it also brings significant security and deployment considerations. Squeezing content over an IP network brings visual quality considerations, and perhaps most importantly for command and control, latency issues. Unless the use of encoded video streams (typically H.264/5) for the primary control aspect is immediately written out, the high encoding latency makes real-time “control” clunky and difficult to use in practice. The commoditisation of 10Gb networking components now allows uncompressed or “visually lossless” compression techniques to be employed that don’t incur the same latency penalty. “The ability to securely share anything, anywhere, is the objective here,” explains Storey, “to different workstations, offices or even buildings. We have managed that with imperceptible impact on latency and zero impact on video quality.” Clearly, data security in the control room is vital, and end users need to know that their systems are as safe as possible. With Datapath’s Aetria solution, security is built in. All connections are secured with enterprise-grade AES encryption and user sessions and APIs are secured with TLS encryption. Finally, the role-based User Rights Management functionality can be used standalone or integrated with an existing enterprise identity and access management platform. www.datapath.co.uk/aetria

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NEWS: PROJECTS

Keep Breathing at Zero pushes boundaries

HONG KONG

Hong Kong media artist, GayBird, has created an ambitious immersive production to be staged at the newly opened East Kowloon Cultural Centre (EKCC). An extension of the ideas first released and presented at the original production of Breathing at Zero at the Hong Kong Academy for Performing Arts (HKAPA), this latest follow-up incorporates non-human elements such as robot arms, as well as sound installations and dazzling visuals powered by disguise solutions. While the original HKAPA staging had been developed over six months, utilising the expertise of the School of Theatre and Entertainment Arts, the team at EKCC had just five days in the theatre to programme and load the complicated technical elements that sit at the core of the show. “The disguise system helped us to overcome the challenge presented by such a short timescale,” commented Allen Fung, production technical director and lecturer in media technology at HKAPA, who worked on this new production with a team of professional

designers, HKAPA students and graduates. “We were able to map our projections onto our set and previsualise the end result to ensure it looked right.”

From lining up different timed components to matching projections with the frequently moving onstage set and props, disguise gx 2c media servers allowed all of the show’s varied

Six orchestral nights under the stars

graphics to be planned out in-depth and in advance. “One of our biggest challenges was connecting the actions onstage to our virtual world,” added Fung. “We wanted our projections to interact with the gestures of our performers, and the ability to use Notch within the disguise system enabled us to realise this.” As well as its functionality with Notch, the gx 2c was connected to six different projectors and cameras, enabling the entire production to be controlled and operated from a single unit. “This meant that the second run of the show could manage everything the premiere had achieved, despite a smaller production crew and a significantly shorter period of preparation,” noted Denzel Yung, student system engineer and disguise programmer. The end result was an ambitious immersive show that combined impressive physical performances by humans and robots alike, working in unison with dazzling imagery. www.disguise.one

AUSTRALIA

The stage was fitted with three large LED screens

Adelaide Symphony Orchestra has utilised ROE Visual outdoor LED panels for the Festival of Orchestra, an event spanning six nights at the Adelaide Showground. The festival, technically supported by Novatech Creative Event Technology, is an initiative that takes orchestra out of the concert hall and onto the outdoor stage under the stars, with an aim to reach a broader audience. The performance stage was fitted with three large LED screens, used in different configurations throughout the six concerts. ROE Visual Carbon CB5 panels were selected due to being lightweight and sturdy

amidst the springtime winds. “The LED products provided by ROE Visual surprise us time and time again with their incredible quality and brightness, bringing great visual effects in all situations,” commented Ashley Gabriel, Novatech. “It’s gratifying for us to see that Novatech selects our products for such an outstanding project, and we’re proud to be their product of choice,” concluded Grace Kuo, ROE Visual sales director. www.ncet.co www.roevisual.com

Taiwan’s first Constellation optimises performances TAIWAN

A hub for the arts in the capital of Taipei, the Taiwan Traditional Theatre Center has installed Taiwan’s first Meyer Sound Constellation acoustic system, enhancing the audience experience across all musical genres while reducing expenses and time between performances. The idea behind the installation of Constellation stems from the original concept behind the centre’s main 1,055-seat performance hall. Technical director Huai-min Jen said: “When the centre was first proposed nearly 10 years ago, the resident opera company was transitioning to the use of wireless reinforcement for the singers. The hall was designed with a relatively dry acoustic to accommodate amplification, which meant that a large and very cumbersome stage shell had to be erected to support orchestral performances. It required a crew of 10 or 15 to bring it up from the basement as well as an entire day to set up and then take down, which cut into rental availability.” The physical shell also introduced acoustical compromises. “The shell was not optimum for all performances,” Jen continued. “You can’t adjust it to provide the perfect environment for all performances. But now, with Constellation,

we can instantly optimise for every performance and ensure the same listening experience in every seat.” The Constellation system incorporates 128 fullrange loudspeakers (Ashby-8C and Ashby-5C, MM-4XP, UP-4slim and ULTRA-X20XP) along with 16 subwoofers (MM-10XP and USW-112XP) provided by Meyer Sound’s Taiwanese distributor, To Gather, with Taipei’s In Li Cha consulting on physical acoustics. Constellation was up and running within the deadline and is programmed with 17 presets: 10 for the orchestra, one for opera and six options for rental clients. The preset for choral

Image courtesy of Yu Chung Chen

music extends the baseline RT60 for 1.2s out to 3.8s. “When they brought in the 80-piece orchestra for final tuning, it almost brought tears to my eyes,” recalled Jen. “It was that good. I felt that now we truly have a theatre that also can be a world-class concert hall. “Because we have the first Constellation system in Taiwan and we belong to the

government, we can demonstrate to other multipurpose venues in the country how the experience of active acoustics can enhance and transform all types of performances. When other venues do renovations, they should consider this as an option to physical shells.” www.meyersound.com

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25/02/2022 12:09

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NEWS: PROJECTS

Genesis vehicle launch driven by Analog Way CHINA

Staged at an old warehouse in Shanghai’s Binjiang Shipyard on the Yangpu River front, car manufacturer Genesis launched its exclusive G70 luxury sports sedan and Genesis G70 Edition 1 limited edition vehicle. Analog Way’s Aquilon RS4 mission-critical 4K/8K multiscreen presentation system and videowall processor served as the video control backbone for the high-profile presentation. The event was divided into two stages where video, music and dance combined with the official launch presentation. The VJ/performance stage featured a main LED display with Dutch façade and horizontal LED stripes flanked by vertical LED stripes. A floor LED display, four projectors with a lifting curtain and two projectors with lifting curtains at the sides graced the car stage. Vertical LED stripes distinguished the left and right sides of the stage together with additional vertical LED stripes and a prompter display at the rear. A long LED stripe ran along the ceiling from the main display to the prompter. All the LED displays and projectors were active for the event’s opening, introductory welcome and promotional video. Dance and mirror lighting

effects highlighted the vehicles, which were driven in drifting mode to the accompaniment of a VJ video. Lateral projectors were called to action for the Genesis keynote and the performance

stage’s LED display enhanced audience photo opportunities, the reception and live band music. Commissioned to supply and install the AV equipment, installation and control,

Really Beijing selected Analog Way’s Aquilon RS4 to drive all the LED displays and projectors. The RS4 received content from the media player, VJ computer and band computer. Presets were edited with Web RCS and controlled from a simple Elgato Stream Deck interface. Hosting 24 inputs and 16 outputs, the Aquilon RS4 was selected for its industrial-grade reliability, ease of use, 4K digital connectivity, real-time 10-/12-bit 4:4:4 video processing power, image quality and ultra-low latency. “The RS4 greatly reduced the equipment needed and simplified their connections,” noted Analog Way technical support engineer, Yang Li. “The event required 11 4K and five 1080p video inputs and 15 1080p video outputs. The initial design used four video processors for this setup, while we just needed one Analog Way RS4 to get the job done perfectly. All programming and configuration was routed through our Web RCS interface, so there was no need to install extra software. The RS4 also supports thirdparty controllers like Stream Deck for flexibility.” www.analogway.com

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LIBERATING AUDIO emacoustics.co.uk

25/02/2022 14:55

NEWS: PROJECTS

Christie projectors cast light on Curious 12 Tales KOREA

Christie 1DLP laser projectors have provided the visuals at a new exhibition dedicated to Korean folktales depicting mythical creatures, plants and various deities that have been retold over the generations. Titled Curious 12 Tales, the exhibition is organised by media production firm Design Silverfish and sponsored by Korea’s Ministry of Culture, Sports and Tourism as well as the Korea Creative Content

these timeless Korean stories to our children through the use of beautiful and interesting images at this exhibition. We hope that visitors will enjoy our rendition of these enduring stories.” The laser projectors have been fitted discreetly on the ceiling in eight exhibition zones, including “The Old Stories that Began with Stone and Wood”, “Story of Shadows” and “Reaching the Stars Beyond Our Mind”. In “The Letter of

Sports complex audio system defies curveballs THAILAND

Agency. Taking place until 25 July, the event is being held at Insa Central Museum and comprises 12 exhibition zones, with each one focusing on a particular myth. With the exhibition featuring the use of technologies such as digital projections, virtual reality, augmented reality and holograms, Christie has provided 16 D20WU-HS 1DLP laser projectors, installed by its local partner, SNC Alliance. “Curious 12 Tales showcases rich and immersive visuals that enable visitors to reinterpret these fantastic stories that transcend time and space in their own way, and discover anew the way we live in the present,” said Gyoung-tae Hong, CEO at Design Silverfish. “Just like how we approached our parents to tell us traditional folktales, we want to pass on

Summoning”, several projectors, together with four-sided media mirrors, create imagery of dragons, phoenixes and nine-tailed foxes that appear on the bookshelves and floor. Christie and Design Silverfish worked together previously for the 2021 Seoul Delight exhibition, which Paul Lee of Christie insisted had impressed the production firm and is the reason the projectors were selected again. “That’s why the D20WU-HS is once again the projector of choice for Curious 12 Tales. With their compact footprint and omnidirectional capabilities, the D20WU-HS projectors are allowing public spaces and museums to reinvent themselves in extraordinary ways.” www.christiedigital.com

Mahajak Development has installed a range of Harman Professional solutions at the Nakhon Ratchasima Sports Complex in order to create an immersive entertainment experience. Home to the Nakhonratchasima Mazda Football Club, the sports complex is the fourth biggest stadium in Thailand and hosted the Southeast Asian Games in 2007. The stadium area comprises the Nakhon Ratchasima FC football field as well as a grandstand. The facility has a seating capacity of 25,000 with hopes to stretch to 45,000 in the future. The complex’s organisers requested a new high-output audio system capable of providing clear, intelligible sound with reduced reverberation during games and events. The integrators found a challenge in that the audio system needed to be installed on the roof which only covered one side of the stadium, which posed an issue for overall sound coverage. Mahajak deployed weather-resistant JBL Professional speakers, Crown audio amplifiers, Soundcraft consoles and BSS

signal processors in an effort to resolve the issue. The Mahajak team selected JBL PD500 Series loudspeakers to cover the roof side of the grandstand and JBL Variable Line Array Compact Series loudspeakers to cater for the rest of the venue. Designed for a variety of venues including sports facilities, the PD500 Series speakers feature four horn-loaded 15-inch, two-way systems and a dual 15-inch subwoofer. The Soundcraft Si Impact digital mixing console controls the system and supports external wireless control for staff. In addition to the under balcony, the Mahajak installation team also installed JBL Control 29AV-1 speakers, powered by a Crown CDi series amplifier and configured using a dbx VENU360 signal processor in the corridor outside of the stadium for clear background audio. Nakhon Ratchasima Sports Complex reported that the new audio system “meets the organiser’s standards of reliability, durability and flexibility”. pro.harman.com

www.silverfish.co.kr

Lawo brings order to Singapore Parliament broadcasting SINGAPORE

The Parliament of Singapore has conducted a major technical upgrade, which saw the installation of modern Lawo technology in its broadcast facilities. The client needed the audio mixing system to provide high flexibility and integrate into a remote production infrastructure. The importance of setups integrating with distant venues has increased during the pandemic, in order to practise social distancing during parliamentary working routines. The technical specifications and ease of connecting to Singapore’s national media network, Mediacorp, were said to be instrumental in the installation of the Lawo mc236MkII console as the central element of the audio infrastructure. Due to the Singapore Parliament project taking place during the pandemic, training and configuration support were done remotely. Lawo’s Frank Mosch conducted technical pre-project discussions so that MediaCorp and systems integrator, Broadcast Communications

International, could finalise the system’s design and interconnectivity. The Singapore Parliament’s Lawo installation includes a compact, 32-fader mc²36MkII all-in-one audio console, powered by IP-native A__UHD technology, with A__stage48 and A__stage64 AoIP nodes integrated into the system as stageboxes. These standardsbased products support ST2110-30/31 as well as Ravenna/AES67 AoIP. The first seating of parliament using the new Lawo broadcast infrastructure took place in early January this year, with an error-free debut. “We are proud and honoured by the trust the Singapore Parliament has given our products and solutions for this major modernisation – the introduction of IP technology using Lawo broadcast equipment,” said Boon Siong Tan, Lawo sales director, Southeast Asia. The Parliament of Singapore

www.lawo.com

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25/02/2022 12:10

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NEWS: PROJECTS

Fairlight console works its magic on Taiwan film industry TAIWAN

Blackmagic Design has announced that Taipei-based film post house, 3H Sound Studio, has installed multiple digital audio workstations (DAWs) built around its DaVinci Resolve Studio postproduction software and Fairlight Advanced Console audio control surfaces. Founded in 2004, the studio, offering services ranging from location sound recording to Dolby Atmos postproduction, has previously won awards at the Cannes Film Festival, the Hong Kong Film Awards and the Golden Horse Awards. Studio founder, Tu Duu-Chih, is said to have been instrumental in the technical advancements of sound engineering for Taiwan’s film industry. 3H Sound Studio has also partnered with established sound studios around the world, including Nikkatsu Recording Studio, AtLab, Sound Firm and Ramindra, on Dolby Atmos projects.

Studio founder, Tu Duu-Chih Starting his sound engineering career when film cinematography and analogue sound design dominated the motion picture industry, Tu took his workflow completely digital by switching to Fairlight DAWs in 1997. Today, 3H Sound Studio has 10 mixing rooms equipped with numerous Fairlight DAWs, including two-bay and fivebay Fairlight Advanced Consoles each with DaVinci Resolve Studio software, along with seven legacy Fairlight systems.

Studio was installed in the mixing room for Dolby Atmos mixing and mastering and has been used since then on dozens of films, including A Sun by director Chung Mong-Hong, Love After Love by director Ann Hui and Anita by Longman Leung. “3H Sound Studio has designed workflows specifically for film audio postproduction and we are confident that we can satisfy our clients by delivering high-quality results within their deadlines. With

“We expect to replace the legacy models with the latest Fairlight Advanced Consoles and DaVinci Resolve Studio software in the next two years for obvious reasons,” said Tu. “Not only has DaVinci Resolve Studio inherited the quality of being fast, reliable and intuitive from Fairlight, but it also has tons of new features such as higher performance, ability to export to various formats, immersive audio, efficient and easy-to-use ADR functionalities, 2,000 tracks with real-time effects, new loudness metre and free software updates as well as more responsive, sophisticated hardware consoles.” The five-bay Fairlight Advanced Console with DaVinci Resolve

the top sound designers in Taiwan, we have been helping filmmakers make great Chinese movies and bring them to audiences around the world,” said Tu. “It’s Blackmagic Design’s Fairlight that gives us a complete solution with both software and hardware and maximises our efficiency and flexibility for complex audio postproduction on tight schedules. When we see the efforts Blackmagic Design continues to put into the research and development result in innovative updates, we know Fairlight is a product that we as sound designers can expect and rely on,” he concluded. www.blackmagicdesign.com

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25/02/2022 12:11

You asked for a lighter, more powerful line array. How about

You know what you want in a line array. And now, we’re giving you more than you ever thought possible. Introducing PANTHER. Over 150 decibels at only 68 kilograms and 97 centimeters wide. Exactly what you asked for—turned up a notch.

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NEWS: PROJECTS

Novatech brings Adelaide to life AUSTRALIA

AV production company Novatech Creative Event Technology has supplied Elation’s Proteus Hybrid IP65 moving head fixtures for a large winter event in Adelaide called Illuminate Adelaide. The company also supplied 13 L-Acoustics’ Syva and six subs across all four sites, playing a dynamic mix of vocal tracks, ambient sound and music on the exhibits. Montreal-based multimedia studio Moment Factory was contracted to supply the creative, design and immersive content, while

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H sp th Novatech provided all the gear and crew for the event’s signature project, Light Cycles, which took place at the Adelaide Botanic Gardens. Light Cycles used light and music to amplify and transform the beauty of nature and led visitors on a magical night-time journey through nearly 2km of the garden’s lush gateways and luminous canopies. The immersive experience included dynamic soundscapes and video and light projections, including lighting effects from the Proteus Hybrids at The Hearth, a gathering place set against the botanic gardens’ iconic Palm House greenhouse. Colourful, ever-changing beams of light from 12 Proteus Hybrid luminaires intertwined with an instrumental soundscape to depict the beating heart of nature, while a chorus resonated across the lawn. The sequence, which ran on a five-minute loop, was the last of seven zones that visitors walked through and was designed to leave a lasting impression.

Image courtesy of Moment Factory

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“The Proteus Hybrids were a good choice for this installation as their IP status allowed them to be out in the Adelaide winter for the entire six weeks, which faced an unusually wet and windy winter,” stated Ashley Gabriel, director of sales and marketing at Novatech Creative Event Technology. “They also provided the necessary punch for a beam fixture that, due to the moisture in the air, really did throw an incredible beam to create the desired effect.” Regarding the L-Acoustics speakers, Gabriel said: “With a wide coverage distribution from a minimal footprint, Syva gave us clear, consistent and immersive sound across all four activation sites. Aesthetically they possess a streamlined, low-profile design and complement the projection towers perfectly.” This was the first time Moment Factory’s creative sound design team worked with L-Acoustics’ range of premium audio solutions. “To achieve the best result onsite, sound designers and engineers wrote and

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mixed tracks at their outdoor Forest Lab in Canada through the same L-Acoustics systems we specified for each installation of this event. Achieving homogeneous and consistent coverage within the zones was challenging. By providing an immersive experience, we had to reduce interzone interference, so that the audience would not be distracted from sounds in other zones.” To diffuse coverage for each exhibit’s main soundtracks, L-Acoustics X8s and 8XTs were mounted at a height of 2m on push-up stands. Placed on shorter stands at a height of 400mm, diminutive 5XT coaxials were concealed under natural plant cover to simulate sounds emitted from the environment. SB28 and SB18 subwoofers were added where extended low-end reinforcement was required.

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25/02/2022 12:14

Nowon Light Garden’s Forest Fairyland

Historical healing space is a feast for the eyes KOREA

Nowon Light Garden in Seoul has called on Christie to display projections in an outdoor park situated in an area surrounding the old Hwarangdae Station – one of the stops along the nowdefunct Gyeoungchun Line. While the projectors were supplied by Christie partner, SNC Alliance, the installation and commissioning were accomplished by local distributor, Mega Link. The outdoor area’s biggest attractions are old steam locomotives and narrow-gauge trains and it’s now famous for being the first permanent night lighting park in South Korea. At sunset,

development of Nowon district, and serves as a “healing space” in the city that anyone can come and enjoy. “As this is a landmark project, the client required a reliable projection system that can deliver bright, colourful images under all weather conditions. Christie’s laser projectors met these requirements and emerged as the preferred choice for this project.” Chul-Hoo Park, CEO at Mega Link, added: “The Christie laser projectors deployed for projections at three venues within Nowon Light Garden have generated much excitement among visitors. Not only do the dazzling projections

a 400m section of the park is illuminated with themes of Secret Garden, Tree of Life, Music Garden, Fantasy Train Station, Milky Way Garden and Forest Fairyland. Adding to the illuminations are projections on the façade of the station, using a Christie D16WU-HS 1DLP laser projector, an interactive game zone using two DWU630-GS 1DLP laser projectors and panoramic projections at the Forest Fairyland using five LWU900-DS 3LCD laser projectors. CEO at SNC Alliance, Dong-Woo Lee, explained that the illuminations were designed to promote the

complement the various illumination themes, they also enable visitors to better appreciate the history and charm of the old Gyeongchun Line’s Hwarangdae Station, platforms and abandoned tracks that give this park its unique appeal.” Park noted that he found the D16WU-HS to be ideal for the Hwarangdae Station projections. “From pictures reminiscent of train travel memories to colourful flower shapes, the endlessly unfolding projections are a feast for the eyes under a romantic night sky.”

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www.christiedigital.com

25/02/2022 12:16

NEWS: PROJECTS

Beijing’s winter sports spectacular with Audio-Technica CHINA

Audio-Technica has announced that it is supporting the host broadcaster of the sports competition with a number of microphones, headphones and associated accessories. For 26 years, Audio-Technica has been providing audio solutions for the global broadcasts of the competitions. In Beijing, over 700 Audio-Technica shotgun microphones were specified – mostly BP4027 and BP4029 stereo models – in order to deliver an enhanced soundscape. Microphones were used in multiple locations for events such as speed skating, ice hockey and figure skating, where approximately 60 AT880b contact microphones were sunk into the ice fields before they were frozen, to pick up the subtle sound of the skates. Bringing curling to people’s homes were over 50 channels of ATW-500 Series wireless beltpack microphone systems, often working continuously for up to 13 hours per day in challenging conditions, both environmentally and in terms of radio frequency planning.

ceiling, as well as the more recent introduction of a pair of stereo BP4025 microphones fitted to a custom windshield mount in a 4.0 setting. In total, there were over 200 ambient microphones throughout the various competition sites. Befittingly in “winter white” colours, BP899 and BP898 lapel microphones were hidden discreetly around the fields of play, as well as a large quantity of in-ear E-Series monitors and Mx-Series headphones to help complete the inventory in Beijing. Finally, 14 Audio-Technica prototype 8.0 Microphones were back in action after their success in Tokyo last summer, each consisting of eight 12mm diameter microphone elements. The 8.0 microphones formed part of the host broadcaster’s audio programme delivery package. Mixed real time in the fast-paced live sports environment, they contributed to delivering an audio experience for each sporting discipline. The venues’ ambient sound is delivered in 5.1 surround, which relies on a combination

of AT4050 mono and AT4050ST stereo large diaphragm microphones, often hung from the

www.sea.audio-technica.com

Merging upgrades Hollyland system works wonders for Wuhan esports Hokuriku Asahi Broadcasting’s facility CHINA

JAPAN

Hollyland has supplied a Solidcom M1 wireless intercom system for the second Esports China Annual Ceremony in Wuhan. Co-hosted by People’s Sports of China, Optics Valley China Film Esports Technology and Wuhan Cultural Investment Development, the ceremony was attended by esports representatives, as well as those within broadcasting, commentators and journalists. The event faced several challenges before it even began. The site is about 80m long and 50m wide, and the production team needed to manage everything onsite from hosting guests, setting up calling cues, preparing teleprompters, timing speeches, escorting performers to and from the stage, all while being efficient and accurate. The Solidcom M1 full-duplex wireless intercom solution comes with eight beltpacks and eight LEMO headsets, a base station and other accessories. The show’s team members, director, project manager, show caller, audio engineer, lighting engineer, stage manager, graphics operator and technical director were all equipped with a beltback and LEMO headset. The sidetone function of the Solidcom M1 helps the director to ensure that the mic is picking up the voices but is useful

Based in Ishikawa Prefecture to the North of Tokyo, Hokuriku Asahi Broadcasting, affiliated to All Nippon News Network, has replaced some of its most important – albeit ageing – Merging Technologies equipment. The upgrade was supplied and installed by DSP Japan, Merging’s local distributor. The main item to be updated was the controller, which saw DSP Japan replace the Ramses with the Avid S1 System. The client specified a cleaner working environment, so a smaller, fully networked system was specified to make the installation operationally more flexible and secure, while also simplifying cabling. Installing Anubis network converters in the announcement booth and control room allowed for easier monitoring and the networking routing. The existing Horus converter and the Pyramix DAW could also join this network, so key parts of the previous installation were still valid.

In addition to the main recording room, it made sense to install an Anubis in the announcement booth, so this also joins the AES67 network. Although it has a small footprint, the Anubis performs most of the functions required for an announcement booth from a single surface, since it includes microphone and headphone preamplifiers, studio speaker controller and communication system. This compact setup allows for extra space in the booth for large manuscripts, production notes or laptop computers. The Anubis can also be remotely controlled from a PC in the control room, with the 5.1 monitoring system being upgraded with the latest versions of the PSI A14M active loudspeakers mounted in the ceiling. The AES67 network can easily be made bigger in the future, without the need for more cables, making the investment secure for years to come. www.merging.com

in adjusting the volume too. For the project manager, three talk groups can be set up within a single system, meaning that they can communicate with the audio engineer within seconds, which is key to keeping to a tight schedule. Organisers said that they were provided with wider coverage, better audio quality and more reliable communications. A spokesperson for Hollyland concluded: “The Solidcom M1 wireless intercom system empowered the event production team to communicate easily and collaborate more effectively to deliver a smoothly run and successful ceremony.” www.hollyland-tech.com

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NEWS: PROJECTS

Shangri-La Dialogue made clear with Congress Rental SINGAPORE

The 10th IISS Shangri-La Sherpa Meeting took place with the help of Congress Rental, to mark the relaunch of the IISS Shangri-La Dialogue, said to be an important process for defence diplomacy. After a two-year hiatus, senior officials, military officers, academics and other policymakers from over 20 participating nations converged in person at the Fullerton Hotel. The event provides a platform for secure and off-the-record discussions on key issues that shape the defence and security landscape of the Asia Pacific region. The layout of the meeting was in a rectangular formation facing inwards with three automatic Avonic PTZ cameras, pre-programmed by Congress Rental’s technicians to move and focus on the delegates as they pushed the microphone button to speak. were then16:15 Page 1 Projet2_Mise en The pagevisuals 1 17/02/2022 broadcast to screens in the centre of

the room and to the virtual platform for online delegates. It was ensured that camera placement and microphone positioning matched the given layout, while adjustments were made to capture everyone properly. Before the event, Congress Rental created seating presets using software mapping technology on the microphone management system and worked with an audio engineer to ensure all 70 Bosch Dicentis wired conference microphones received technical checks. In addition to this, Congress Rental optimised iris control and monitored the colour temperature of the automatic PTZ cameras to ensure that the image quality remained clear throughout. www.avonic.com www.bosch.com.sg www.congressrental.asia

An Adamson system AUSTRALIA

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Adelaide-based Kings Baptist Church has worked with INTLX Productions to install an Adamson system for a multipurpose venue that functions as a church, as well as a production and assembly space for Kings Baptist School next door. Rodney Bates, INTLX Productions, noted the church’s leadership were humble enough to admit they had no idea what an audiovisual fit out involved. Luckily, INTLX was brought in early enough in the process to have some input in architectural tweaks, including a structural beam from which to hang a lighting bar. King Baptist’s leadership was clear on one thing though: audio coverage needed to be completely consistent across every seat in the house. “Once I understood that consistent coverage was their prime objective,” recalled Bates, “I asked them to take another look at the venue’s acoustic design. When we got the balance right and the acoustic treatments in place, then we could justify investing in a highquality loudspeaker system.” Bates selected an Adamson IS7-based rig, purchased through Adelaide Sound Hire, an Adamson rental partner. “It wasn’t the cheapest system, but it was the best for that space. I was able to get five enclosures a side into the venue. And based on the acoustic planning and plotting, the Adamson system

The church acts as an assembly space was going to give me less than three decibels difference from the front row to back row and completely consistent coverage horizontally right across the width of the venue. The coverage is exemplary.” With five IS7 loudspeakers aside complemented by two subs, it’s a lot of PA for the size of the room. Bates continued: “There’s 12dB of headroom in the system. If they want to go stupid-loud with the system, they can. In fact, I’ve throttled the PA back 12dB

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NEWS: PROJECTS

TVU Networks enables counter-terrorism live broadcast KOREA

The Republic of Korea’s Army Special Warfare Command has employed TVU One 4K HDR mobile transmitters for the challenging live broadcast over land, sea and air of the 2021 National Counter Terrorism Comprehensive Exercise, hosted by South Korean prime minister Kim Boo-kyum. The exercise, which was broadcast live on Korea TV as well as OBS Gyeongin and other major streaming platforms, involved around 450 participants from eight organisations and included simulations of emergency action in terrorist attack scenarios. These simulations included the hijacking of passenger ships at sea, the occupation of land passenger terminals and the threat of explosives and biochemical attack.

OBS Gyeongin TV technical manager GunHo Song said: “The TVU One 5G transmitters brought great convenience to the live video broadcast of this antiterrorism drill. The cameraperson could shoot alone and move quickly to capture more details of the drill and send it back to the command centre. “The output frame synchronisation of multiple TVU One transmitters solved the problem of using multiple sets of devices for production. Compared with traditional video capture and transmission solutions, TVU live broadcast is simpler, reduces costs and it provided great live video for this drill.” The exercise included 450 participants

www.tvunetworks.com

fit for a king

DS Series Deeper. Louder. Cleaner. for a neighbouring school so they don’t accidentally do any damage. But if there’s a reason for high SPLs, the PA is more than capable of it.” The IS7-based arrays are designed to cover every seat except for the first row, which is addressed by front fill. The Adamson hang is trimmed to avoid hitting any hard surfaces, with acoustic absorption aiming to pick up slack where first reflections are unavoidable. “It sounds the same in every seat and there is no excess

energy bouncing off the walls,” stated Bates. “So often you’ll see installations where loudspeakers are spraying sound at the walls, which creates unwanted reflections and acoustic issues. In this case, the acoustics have been dealt with in such a way that those reflections are managed. We’ve got every single seat covered and it sounds the same in every seat.” www.adamsonsystems.com

The new DS Series subwoofers combine an extremely strong motor for excellent cone control and efficiency, with the latest suspension materials for long excursion and durability. Now available with a lower price point 4” (100mm) diameter voice coil in 15” and 18” frame sizes, with the field proven durability and performance you expect from B&C Speakers.

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www.cmi.com.au

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NEWS: PROJECTS

HelixNet and FreeSpeak II rise to the challenge INDONESIA

As the host for the 16th National Paralympic Games, Indonesia staged a packed 12 days of sport into Papua’s Mandala Stadium in Jayapura. For the Opening and Closing Ceremonies (OCC), 86 Inc was contracted to assist with the show management and live broadcast communications by the Organising Committee. A partner for Clear-Com, 86 Inc based a solution around the HelixNet Partyline digital network and FreeSpeak II digital wireless intercom. “The OCC, the Paralympics COVID Task Force and the Ministry of Communication and Information Technology [MCIT] of Indonesia all had different concerns needing to be addressed by the comms system,” explained 86 Inc CEO, Dino Gonggalang. The OCC’s concerns related to logistics given the overall scale of the event. The MCIT was further tasked with securing sufficient spectrum frequencies in a limited RF zone and the COVID Task Force was charged with enforcing increasingly strict national safety protocols.

“Basically, they told us their concerns and left everything to us to run it as seamlessly, reliably and safely as possible, which is why we went with Clear-Com for the event,” continued Gonggalang. Despite being a far from simple task, the HelixNet and FreeSpeak II system configuration facilitated the required communication channels for the performances and the broadcast. “We deployed 46 drops of Clear-Com, where the main channel was designated for show director Asthie Wendra, who connected directly with all aspects of show management,” added project manager at 86 Inc, Putut. “At the height of the performance, 950 dancers appeared with their props, making various configurations accompanied by lasers, fireworks, various multimedia, sound, lighting and 500 drones to light up the Papua sky. Considering the size of the venue and the elaborate performances, Clear-Com displayed excellence in terms of ease of installation, flexibility and

reliable connectivity, while satisfying the requirements of all the organisations involved.” HelixNet’s interface and ease of deployment proved ideal during the rapid pace of the OCC. Familiar partyline channels provided an easy transition for all skill levels of intercom users, allowing team members to be focused entirely on the task at hand. FreeSpeak II proved ideal for the scale and complexity of the events, allowing team members to be

untethered and talking in any configuration of channels with exceptional performance in both the 1.9GHz and 2.4GHz bands. OCC technical director, Ezar P Darnadi, further praised 86 Inc and his experience with the Clear-Com system. “We knew that communication could make or break this event, and 86 Inc delivered tremendously for us.” www.clearcom.com

Hujan makes a comeback with Sennheiser MALAYSIA

After a two-year hiatus due to Covid-19, Malaysian indie band Hujan has used Sennheiser’s Digital 6000 System for their series of virtual concerts entitled Hujan 16 Tahun, transmitted live from the Petaling Jaya Performing Arts Centre. The concert ran for four consecutive nights, showcasing all that the band has achieved in their 16-year career. To complement Sennheiser’s Digital 6000 System, wireless monitoring via evolution wireless was also implemented using 2000 Series IEMs, with the backline including several Sennheiser and Neumann microphones as well as monitors. Vocalist Noh used an SKM 6000 with a Neumann KK 205 head, with lead guitarist opting for an SKM 6000 with a Neumann KK 105 capsule and Azham choosing an SKM 6000 with an MM 445 capsule. Bassist Izzat relied on a wired MD 435 microphone, while backing vocals were picked up by an e 935 and an e 945. Recording engineer Bijan FX was thrilled about the audio performance of the Digital 6000: “It was Noh’s first time on the Digital 6000 system, and it felt as if it was not wireless at all. Its latency is so low that it seemed like a wired microphone. On the mixing side, the Neumann KH 310 monitors helped me in making critical decisions – their precision was fantastic.” FOH engineer Ahmad Syafiq, who looked after the sound for the limited number of live guests, added: “I liked how the sound felt coming out of the SKM 6000

In addition to the e 901 and e 902 for the kick drum, the toms and the snare bottom were picked up by e 904s. For the hi-hat and ride, Syafiq chose the Neumann KM 184. Ambience was picked up by two MKE 600s. The sell-out crowd in the convention centre was joined by 1,400 fans who watched the four-day concert online, making Hujan 16 Tahun the most successful virtual concert in Malaysia. Band manager Epain Ahmad concluded: “The equipment made the band sound better and made the fans feel better. It was a dream come true for us to collaborate with Sennheiser. We’re looking forward to our next shows.” www.neumann.com

Hujan performing on the final day of their four-day concert handheld and the KK 205 supercardioid capsule; complemented with the Neumann V 402 preamp, it sounded much smoother for the vocalist’s rock nature.” Guitar and bass used wireless instrument systems from the evolution wireless and Evolution Wireless Digital series, while the drumkit was miked with various Sennheiser and Neumann models. Syafiq had a special solution for the snare top: “The evolution 900 series drum mics are my go-to microphones without a doubt; they give me the ability to tailor the music. For the snare top, we took an unorthodox path and used the super-cardioid MD 445, which sounded excellent as its polar pattern helps to eliminate hi-hat bleed. I would strongly recommend everyone to give this a try.”

www.sennheiser.com

The sold-out Petaling Jaya Performing Arts Centre

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NEWS: PROJECTS

PK Sound elevates partygoers’ experience CHINA

Guangzhou-based China Catwalk Disco and Club, renowned for its opulent, extravagant guest experience, has opened a sister venue, Catwalk+, and asked distributor Polar Audio to create an audio system that is as impactful as the existing immersive visual effects in its main hall. Catwalk attracts international headliners, as well as a roster of domestic talent, and has selected PK Sound’s Trinity series to elevate this experience. “As the number one nightclub in Guangzhou and a destination for international performers and partygoers, we need to offer a world-class experience unlike any other,” commented club designer, Cheng Jiheng, on behalf of club owners, Guangdong Haiwo Cultural Development Group. “PK Sound’s Trinity series is a global leader when it comes to innovative and impactful audio technologies, which we’re proud to now offer to our patrons at Catwalk+.” The system is anchored by PK Sound’s Trinity Install and T10 Install line source elements, which offer the tour-proven performance of the company’s robotically controlled Trinity and T10 modules in sleek, architecturally friendly enclosures. The main left-right arrays flanking the stage comprise four Trinity Installs over four T10 Installs per side, with two smaller

arrays of four T10 Installs each serving as delays midway through the hall. Low-end reinforcement is handled by eight G218 Install and two G30 Install subwoofers, with an additional six CX800 subs strewn throughout the venue for support. A complement of CX215 point source cabinets and K218 subwoofers comprise monitoring for the DJ booth and supplemental fills for adjacent spaces. “Catwalk+ is loaded with cutting-edge production technologies to deliver a one-of-akind experience, including totally immersive visual effects by some of Asia’s most renowned designers,” shared Polar Audio’s Hawking Yuan. “The audio experience needed to hit that same level, which is why they chose a Trinity Install system from PK Sound. When it comes to clean, clear and incredibly powerful audio, there’s no other option.” “Polar Audio has made impressive inroads with PK Sound in China’s stillbooming nightlife scene, and their work at Catwalk+ makes it clear why,” said Trevor Grenier, global partner support, PK Sound. “Catwalk+’s new Trinity Install system will serve them, their performers and patrons very well and reinforce their reputation as one of the top nightlife destinations in the world.”

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NEWS: PROJECTS

Guangzhou Jazz Festival in full swing with Allen & Heath CHINA

It’s to be expected that Guangzhou, a port city that was once China’s southern gateway for the rest of the world, has become a melting pot of different cultures. Having been introduced to jazz via visiting US musicians throughout history, Guangzhou in particular is now a

major hub for China’s jazz scene, and it’s celebrated every year in the form of a festival. Guangzhou Jazz Festival took place at the Guangdong Xinghai Concert Hall and featured headline performances from Chinese artists Li Quan and Cheng Fangyuan, as well as sets from 40 other acts.

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A dLive S7000 Surface

Chinese AV provider, EZPro, handled all aspects of system design, installation, commissioning and mixing for the festival, and it entrusted a dLive system to help. At the FOH position, EZPro deployed the dLive S7000 Surface with 216 assignable fader strips via 36 faders and six layers, plus 26 assignable SoftKeys and dual 12-inch touchscreens. “As well as the granular scene system, which is crucial for festivals like this, Talkback Groups in combination with SoftKeys really helped a lot,” said Ji Xiang, senior director of marketing at EZPro. “With a single press on a SoftKey, I can quickly switch my talkback microphone’s destination to stage monitors, OB studio, FOH or any combination of the above. We

NEXUS Compact TrueMatch

also utilised an iPad running the dLive MixPad app which makes the sound engineer’s life easier, especially mixing for the musicians onstage.” Onstage, EZPro opted for a DM64 MixRack, utilising Allen & Heath’s 96kHz XCVI FPGA core, to deliver 128 input processing channels and 64 phasecoherent outputs. A Dante 128x128 card has been fitted in the DM64 to feed a Powersoft T304 amplifier and EAW NTX loudspeaker system. Hu Shijun, touring engineer for Li Quan, spoke highly of the system: “This is the first time I’ve mixed on an Allen & Heath dLive and I already love it. I have worked on tour with Li Quan for a long time, and the sound quality of this system is one of the best I’ve heard. dLive is powerful, but also very simple to operate with all general settings easily available on the Surface and iPad for quick access. In addition, I really like the ergonomics of the Surface. It allows me to view the touchscreen and the stage almost at the same time. I hope to have more opportunities to work on dLive systems in the future.” www.allen-heath.com

AVATUS C

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Audio Waves Sounds sets sail for the return of events INDIA

Chandigarh-based rental company, Audio Waves Sounds, has recently purchased an RCF HDL 50-A line array along with RDNet Control 2, aiming to update its inventory as India’s event industry gets back on track. “We’d heard so much about RCF that we decided to take a serious look at what they offer,” said Manpreet Singh, owner of Audio Waves Sounds. “After meeting the RCF team from Hi-Tech Audio Systems and hearing their systems first-hand, we knew it was the right fit for both us and our clients.” “The HDL System is an excellent series from RCF, with effectively networked control and a fast and easy rigging system. The astounding sound quality and the unbeatable value makes the HDL system a fast-selling series in India,” stated Ganesh Thapliyal, senior application engineer, Hi-Tech Audio Systems.

Right after the purchase, the HDL 50-A was put into action at a wedding, a frequent type of event covered by Audio Waves Sounds, as well as live and corporate events. “Another event where we used the HDL 50-A system was the Investors Summit 2021 which was hosted by PM Narendra Modi. It was held at Himachal Pradesh and a prestigious event to be associated with,” shared Singh. Manoj Kontay, sales manager of Hi-Tech Audio Systems, has been closely working with Audio Waves Sounds so it can get acquainted with RCF’s HDL series. “We have organised after-sales demos with Audio Waves Sounds for the newly invested HDL 50-A series. With the in-depth demo, their team were confident to operate the system at any given venue.” www.hitechaudiosystems.com

Canisius College

Audac equips leaders of the future INDONESIA

First established by the Jesuits in 1927, Canisius College provides an education for “future leaders”. A school for boys located in Jakarta, the college has two units, namely SMP Kolese Kanisius and SMA Kolese Kanisius, focusing mainly on natural science and social science. The school called on local distributor, Pancta Inti Bermitra, to install a new audio system in and around its premises, for which the company recommended Audac. To ensure that the school could be divided into sufficient separate audio zones, the system was built around no fewer than six MTX88 eight-zone audio matrixes. For amplification, 11 energy-efficient EPA254 Quad-channel Class-D amplifiers were chosen. With a CENA8 8-inch ceiling speaker being used as the main loudspeaker, more than 100 units were installed throughout the school complex. For the outdoor spaces, the weatherproof WX802/O outdoor universal loudspeakers

were specified, which are suited to a tropical climate like Indonesia’s. Four XENO6 speakers were used in the sports hall, which Canisius College hopes will inspire students during their gym sessions. The school board specified the importance of teachers being able to operate the system from different locations, so 35 all-in-one wall panels were installed throughout the buildings. These panels mean that staff can alter the input and volume of each zone, with the ability to connect microphones and mobile phones. A PDM200 paging microphone is used for voice messages to students. Following on from the Audac setup, the school is now fitted with the technologies necessary for enabling students to develop themselves in what the school board deems the right atmosphere. www.audac.eu

Ganesh Thapliyal conducting a demo for RCF’s HDL 50

BBC Sport selects Vizrt ecosystem for Beijing CHINA

Vizrt has announced that it has worked with BBC Sport to deliver a virtual set graphics ecosystem to cover the Beijing Winter Games. By utilising Vizrt’s Viz Engine 4 coupled with Unreal Engine 4 render pipeline and Vizrt’s Fusion Keyer, driven by Vizrt’s virtual set controller, BBC Sport created a studio environment with easy operator control. A challenge the BBC needed to solve with this hybrid studio was enabling an operatorfriendly workflow and streamlining content changes to provide viewers with information throughout broadcasts. In April 2021, BBC Sport launched the all-new Vizrt ecosystem to broadcast some key sporting tournaments and productions, including the UEFA Euro 2020 championships and the 2021 Summer and 2022 Winter Games. “Prior to the summer, we converted a small studio space at Media City into a green screen area with a virtual design and enhanced rendering technology to deliver an immersive, enhanced experience for

audiences. The studio, with five different presenting positions that can house a variety of sports output, will be a key presentation location for BBC Sport this year, including the Winter Games for which we have added

more design and development,” stated John Murphy, creative director and head of graphics for sport at the BBC. “2022 is not just the year of sport for the industry, but it’s the year of sport for Vizrt.

We’re ramping up our offering across sports to support our customers in achieving their production needs – BBC Sport is a great example of that. We were honoured to participate in last year’s celebration of the UEFA Euro 2020 championships and the long-awaited Summer Games, and, for us, the BBC sets the standards in sports both in looks and functionality across the market,” remarked Gerhard Lang, CTO for Vizrt. “It is a busy year for sport and, with many audiences tuning in from home, it’s essential to the success of the broadcast to provide viewers with dynamic graphics alongside an innovative visual experience which means they are absorbed into the story, despite the distance. Hopefully, we can deliver this visual storytelling for sports fans with the additions to our studios and broadcasts utilising innovative technology,” concluded Murphy. www.vizrt.com

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The hills are alive with the sound of music

JAPAN

The main 1,318-seat Mozart Hall

With the help of Tokyo-based L-Acoustics provider, Bestec Audio, Katsushika Symphony Hills cultural centre has upgraded its sound systems while retaining the historic building’s architecture. Having opened in 1992 in the east end of the Tokyo metropolis, the centre hosts a range of cultural programmes. It consists of two halls – the 1,318-seat Mozart Hall and the 298-seat Iris Hall. Both spaces offer classic and pop music concerts by Japanese

and international artists, as well as a diverse range of events for people of all ages. With the centre’s 30th anniversary approaching, the management team decided to upgrade the sound systems in both halls, also taking into consideration audience feedback regarding the current sound quality. The client required a flexible and easy-to-use system that could reinforce sound for the diverse range of content in the venue. Following several demonstrations,

the team chose an L-Acoustics Kara II system from Bestec Audio. Mozart Hall, which possesses a shoebox interior architecture, took precedence. The proscenium speakers needed to be repositioned to allow for uniform distribution of sound pressure levels, both horizontally and vertically throughout the hall. The L-R system consists of two arrays of seven Kara II each, topped with one SB18 subwoofer. A centre array of six Kara II with one SB18 provides coverage for the groundfloor audience in the middle seats. Six 5XT are embedded under the stage as front fill, while one Syva per side acts as side fill. One X8 per side cover the front of the balcony floor, with performers onstage enjoying sound from a total of eight X12 monitors, with two rigged up L-R and six placed on the stage floor. The Iris Hall has been installed with two A15 Focus vertical arrays per side as the main system. Front fill consists of four 5XT embedded under the stage, with one X12 mounted on each side wall. The stage monitoring system consists of one X12 mounted on each side wall and two X12 monitors placed on the stage floor. The Iris Hall also has a mobile system of one X15 HiQ atop one SB18 subwoofer per side. Ten LA4X amplified controllers drive the entire system.

One X12 mounted on each side wall supplemented front fill “This new system does not disappoint. We are proud to continue providing a worldclass theatre experience to our community,” concluded a spokesperson for Symphony Hills. www.bestecaudio.com www.l-acoustics.com

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NEWS: PROJECTS

Australia’s first Atmos Studio relies on Nugen AUSTRALIA

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Red Road Immersive has been capitalising on the recent popularity of spatial audio by creating immersive audio experiences at its Melbournebased recording house, earning the accolade of Australia’s first Dolby Atmos Certified Studio in the process. Most recently, studio owner, Angus Davidson, has equipped the space with a full complement of Nugen Audio plugins for use both on film and music projects. The latest upgrade saw Davidson deploy Nugen Post, which includes Paragon, VisLM, LM-Correct, Halo Upmix, Stereoizer and ISL plugins, among others, for use on Little Tornadoes, a feature film that premiered at the 2021 Melbourne International Film Festival. The film was one of the first Dolby Atmos projects on which Davidson used Paragon reverb, the manufacturer’s newest software plugin. “Paragon is a great reverb for everything, but I found it particularly helpful for small spaces,” Davidson explained. “It has the most amazing algorithms for spaces, like compact rooms and inside of cars. It also has very well-defined and dense algorithms that allow you to create sympathetic environments easily, say, if you want to match a room tone or a

Angus Davidson particular space. It is, far and away, the best in terms of recreating and matching spaces.”

Davidson went on to explain that Little Tornadoes was initially produced several years ago, and some of the original

dialogue was lost. There are several scenes in which the male leads were in a car, and the original dialogue wasn’t useable, so ADR became a necessity. While the acoustics of the car would normally be very difficult to replicate, Paragon was credited with helping to more easily match the sound. “Paragon for that purpose was flawless,” he furthered. “If it wasn’t for Paragon, I don’t think we would have been able to recreate the dialogue. I tried all the tricks in the book and Paragon was clearly the only reverb that could create the kinds of close ambience we needed in order to seamlessly recreate the internals in that car.” VisLM has also been critical in meeting Apple’s stringent requirements for Dolby Atmos Music. “You’ve got to be absolutely fastidious with making sure that your levels are correct,” he added. “If you’re even pulling 1dB out, Apple will just say, ‘no, we don’t want it’. Knowing that we could monitor the mix and then go back and look at the timecode points, see if we had overs and then go back and make corrections was so helpful.” www.nugenaudio.com

Built to last For 70 years Made in Germany

Put your equipment on a sound footing with a König & Meyer stand. Robust and durable, it will be your companion for a long time to come. Made in Germany from ﬁnest quality materials and according to our high-quality assurance standards. Rely on innovative designs and user-friendly functionality, plus a ﬁve-year warranty. www.k-m.de

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Audio system immerses New Delhi students INDIA

New Delhi-based Teerthanker Mahaveer University (TMU) has called on VMT Enterprise to install an audio system within its multipurpose auditorium. The space holds debates, cultural programmes, theatre shows and festivals, as well as seminars, conferences, competitions and exhibitions. TMU was keen for the installation so the institution could be recognised for providing “high-quality education, research and consultancy services to society”. Due to the auditorium’s heritage architecture, there were little-to-no acoustics meaning that the space was subject to a lot of reverberation, which wasn’t ideal for the type of events held. The client specified that the new sound system

for the 550-seat venue must be good quality, with the components interacting to form an immersive sound throughout the auditorium. VMT Enterprise installed multiple stacks of the Ohm Vela which were flown on either side of the stage, along with a centre array of Ohm TRS-218 subwoofers. Additionally, Ohm’s BRW-26 loudspeakers have been deployed across the venue as fills. The system is powered by British Acoustics 2XM and 2XL amplifiers, with several Ohm Oyster digital controllers delivering crossover, processing and system protection, and British Acoustics XP Series stage monitoring also in use at the university.

Tokyo Bay rock show selects Try Audio JAPAN

Try Audio has provided an Outline GTO system at one of Japan’s largest facilities for large-scale expos and concerts. The city of Chiba, which stands on Tokyo Bay and is famous for its suspended monorail system, hosted the first two days of uP!! Special Live Holic extra 2022 in its Makuhari Messe complex, featuring a cast of Japanese rock bands. Try Audio Japan’s Tokihiko “Toku” Tokuda, system engineer at the Makuhari Messe, said: “We chose Outline because it delivers a sound that can be clearly identified even in a large venue with considerable reverb, such as the Makuhari Messe hall. It’s also very musical and easy to mix, which makes it the ideal system for live performances, and this ease of mixing was also greatly appreciated by the bands’ FOH engineers.” The two main hangs comprised 12 Outline GTO plus three Mantas per side for down fill, while side hangs consisted of 16 Outline Butterfly per side. Bottom-end punch was ensured by a centre subwoofer system of 20 Outline DBS 18-2 dual 18-inch enclosures and four LIPF-082 for lip fill. The system was powered by a combination of Outline’s T-Eleven and T-Seven power amplifiers. FOH consoles at the bands’ disposal were a DiGiCo Quantum7, DiGiCo SD8, Yamaha CL5 and SSL SiX, while monitoring featured a Yamaha CL5 and a Midas PRO1. Since the FOH consoles were 60m away from the

www.vmt.in

Jewel of the Darling Downs lit up by Griven AUSTRALIA

Visual Focus and ULA Group have been chosen to provide a Griven lighting solution for the Empire Theatre, the largest performing arts precinct in regional Australia. Also known as the Jewel of the Darling Downs, the heritage-listed theatre is renowned for its classic art deco architecture and hosts up to 130,000 visitors and 600 events each year.

round profile fixtures are being used to light up each of the columns of the front façade, creating extra depths for the designs when desired. Griven Capital 300 RGBW fixtures fitted with wide optics illuminate both sides of the building, including the fly tower. The architectural lighting system is controlled by Pharos, allowing the pre-programmed lighting sequences to be scheduled at different

stage, Tokuda focused his attention on making the mixing work from a distance, as well as ensuring a balance between main and side hangs. He explained: “We therefore used Outline’s OpenArray 3D software to simulate the difference in sound between the front and the rear of the auditorium and, in my opinion, this enabled us to achieve a great result. The client was also very satisfied with the results and after the event commissioned another job from us.” www.outline.it

Empire Theatre’s fac ̧ade lighting “We were planning to upgrade the architectural lighting of our main theatre building for a while and, when the time was right, we wanted to make sure we chose the best technology available on the market,” explained Ben Hunt, head of lighting at the Empire Theatre. “Originally, we were looking at the existing Griven range but, just before we received a go-ahead for our project, Griven released their new Capital series, which seemed to be a perfect solution for us. They re-rendered the visuals with the new fixtures, and we were really impressed.” The Capital 100 RGBW fixtures were used to illuminate the front façade of the building on both levels. Fourteen Jade 16 RGBW

times and days, depending on specific shows and performances which are being played or hosted in the theatre. “The new fixtures by Griven ensure that the iconic façade of the Empire Theatre remains tastefully illuminated but also gives it some new artistic flare that will stand the test of time. The colour rendition and white point from the Capital series is great and works well on the heritage listed façades,” explained Hunt. “Overall, we are happy with the product and thank Griven, ULA Group and Visual Focus for helping to bring all of the pieces together to ensure that we have a solid solution.” www.ulagroup.com

Makuhari Messe

46 PRO AVL ASIA March–April 2022

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NEWS: PROJECTS

Della & See Seng Gee Guild Hall fit for the future SINGAPORE

Kent Ridge Guild House, the largest of three guild houses managed by the National University of Singapore Society (NUSS), has upgraded the AV system for its main ballroom – Della & See Seng Gee Guild Hall. The house’s offerings include a fitness centre, swimming pool, sport courts, restaurants and function rooms. Having been over 10 years since its last upgrade, and with so many restrictions in place due to Covid-19, it was a great window of opportunity to go ahead and contact longterm friends and systems integrator, Media Systems.

Media System’s team was looking for something futureproof, simple to operate, reliable and within their budget. For the video matrix and distribution system, it turned to iMAGsystems to provide the AVover-IP system for the venue. The Thunder 1g AV-over-IP system was chosen, using a selection of encoders and decoders to create a 7x5 video matrix. Sylvester Fok, MD of Media Systems, commented: “We have been working closely with NUSS and the Kent Ridge Guild House team for many years, and it was an honour to be asked to look after this project. iMAG’s Thunder system worked well, and the Control UI touchscreen software enabled us to meet the budget while ensuring no compromises were made on the client’s requirements.” www.imagsystems.com

Premier Guangzhou venue goes Dutch CHINA

Qingcheng Entertainment Group and Quint Audio have joined forces to create a benchmark for entertainment in western Guangdong. Located on the Baisha Road, Zhaoqing Qingcheng incorporates a combination of VIP and other rooms that share a consistent audio signature across the first-level venue. Aiming to be an immersive space with a quality sound system at its heart, the Qingcheng Party Room has set out to differentiate itself. Integrated into the visual and lighting systems, the client requested uniform dispersion, a wide dynamic range and high power performance. To fulfil these requirements, a selection of A- and U-Series loudspeakers from Dutch brand, Quint Audio, are supplemented in the lower frequencies by S218 and S18 linear bass-reflex subwoofers. Liang of Qingcheng Entertainment Group said: “Unlike previous speakers installed

in the club, the low and high frequencies of the Quint Audio 15-inch enclosures are harmoniously compatible. No matter how good Chinese Kung Fu is, it needs muscles, which in this case is the speaker cable,

Indian distributor Stagemix Technologies has worked with Advanced Integration Technologies to install an Adamson audio system at Hammerzz Open Air Goa. The new venue focuses on a fusion of nightlife and nature.

Hammerzz’s Yatin Sharma emphasised the need for flexibility and sound containment despite the venue’s open-air style. “We were looking for a sound system that would provide high-quality sound with consistent coverage to deliver the feel of a typical

INDONESIA

TVU One mobile transmitters have been employed by the Indonesia Cycling Federation (ICF) to livestream 4K coverage of last year’s National Championship, the Criterium Road Race in Garut, West Java. The quality of signal transmission, along with extensive range and ease of operation, were the biggest concerns for ICF and a major factor in the decision to purchase six TVU One 4K HDR mobile transmitters and two TVU receivers. The broadcast team from ICF transmitted audio and video from speeding motorbikes despite challenging technical conditions throughout the road race. TVU One’s patented Inverse StatMux Plus (IS+) technology reportedly aided the team as it uses less data to achieve transmissions with latency down to 0.8s, even when going live in 4K HDR from the back of a speeding motorcycle.

supplied by Klotz AIS, and blood vessels, which is the SQ422Y signal cable produced by the same Munich brand.” www.ead.cn

Versatility in the air for Goa venue

INDIA

Indonesian Cycling Championship broadcasts with TVU

concert but, at the same time, have the sound stay contained within the space. It was also very important for the loudspeakers to be flexible to handle the various music genres.” The Adamson system consists of 12 S10 enclosures – two arrays of six hung to the left and right of the stage with six E219 subwoofers ground-stacked, with three per side in front-back-front configuration. The system is powered by four Lab Gruppen PLM20K44 amplifiers. Hindi film star, Farhan Akhtar, performed live at Hammerzz Open Air Goa on the same evening as the installation took place. Sharma is satisfied with the results of the Adamson System. “It has remarkable control in challenging acoustic environments and sounds much bigger than its size. It’s very versatile and sounds great with everything. No matter what you throw at it, the clarity remains impeccable. We are very impressed with the result and think the place sounds amazing.”

The TVU Networks setup for live coverage Local video production company Motoshoot Indonesia provided production services for the live event. “In some locations in Indonesia, there is only about 70% cell coverage, whether it’s 3G or 4G,” explained Motoshoot Indonesia project manager, Hidayatullah Hadi. “Yet, the TVU One still gives us a stable 60fps picture.” The TVU One mobile unit selects the strongest cellular network connection and aggregates up to 12 data connections, including 3G/4G, 5G LTE, Wi-Fi, Ethernet, satellite and microwave. “In the past, with products from a competitive provider, we experienced frequent image freezes in areas like Sumatra, Papua, Kalimantan and Sulawesi where there are poor network conditions,” Hadi continued. “When we record live video from cameras using the TVU One mobile transmitter, the video quality is still good and very stable, even when the available bandwidth is low, thanks to its H.265 chip.”

www.adamsonsystems.com www.sonotone.in

www.tvunetworks.com

48 PRO AVL ASIA March–April 2022

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NEWS: PROJECTS

LaON fits new intercom system – Gangnam style KOREA

Gangnam-based National Gugak Center has selected Genie for its critical intercom communications across the whole Yeak-dang theatre. Having opened in 1951, the centre is a state-supported performing arts organisation with four performance groups: Court Music Orchestra, Folk Music Group, Dance Theatre and Contemporary Gugak Orchestra. The centre combines traditional and future performing arts, providing online and offline academic materials to local people as well as tourists. Prior to the installation, staff at the large-scale Yeak-dang theatre were using an old analogue wired intercom system and walkie talkies for its productions. The centre specified the need for a scalable, reliable and wireless intercom system that covered the whole space, including

FOH, stage, control rooms and dressing rooms, as well as its complex workflows during performances. LaON’s Genie hybrid Base Station BS1000 has been installed at FOH, with a rack-type GRP8 IP key panel speaker station at the SM desk. Seven sets of GDP4 have been installed in the control rooms, stage equipment rooms, light room and video room, and 13 additional antennas of the Remote Station RA100 or RBS85 repeater have been deployed across the theatre. LaON has supported the 5GHz frequency channel coordination for all the Genie wireless antennas in the facility so that they now use different RG channels, and has connected the existing iCom walkie talkie systems to the GRP8 with a custom-made interface.

Changnam Yoo, CEO of LaON Technology, said: “When the client expands the system to include the other theatres in the future, the wireless beltpacks can be connected up to five base stations without difficulty. We can set all the beltpacks

to automatically be linked to each base station in respective areas, depending on the requirement of the performance or production.” www.laon-tech.com

Griven illuminations pay homage to the Mugunghwa KOREA

Mugunghwa Arboretum, a renowned sightseeing park located in Gangwon Province, has called on Gravissystem, a Seoul-based company, to design a lighting solution that illuminates its trees at night. The location is dedicated to South Korea’s national flower, the Mugunghwa, and has been established to preserve and cherish the many species of this hibiscus flower, with its meaning being “eternal blossom that never fades”. There are many civil and historic military monuments throughout the park, with the flower symbolising South Korea’s spirit of independence, resistance and strength. Featuring over 1,000 kinds of plants, the park also incorporates a large children’s

playground, a theme park, a greenhouse, a multi-track trail and several themed gardens. The lighting design required for the arboretum foresaw a night illumination in bright, colour-changing tones for the trees located along the central part of the main road crossing the huge park. Fifty-four units of Griven CAPITAL 100 RGBW with medium optics in a black finish have been installed on metal supports fixed onto the light poles of the street and are aimed at the trees. The night view of the park is stunning, as the thick vegetation of the park is now enhanced with intense colour, paying the deserved homage to the national landmark. Mugunghwa Park

www.griven.com

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NEWS: PROJECTS

Genelec monitors aid Korea’s emerging popstars KOREA

so I can easily get the right balance of each instrument in the mix.” SOUND360 worked with local Genelec distributor, Sama Sound, to create the 9.1.6 setup. The space utilises three-way coaxial monitors from The Ones series and features three 8351s for the LCR channels, 12 8341s as surrounds and overheads, and three 7370s as subs – with the whole system tuned and calibrated using GLM Loudspeaker Manager

software. The all-Genelec solution has been a popular choice with the team of engineers working at SOUND360. “Genelec monitors allow users to calibrate and control with ease,” said Lee. “I feel so much gratitude for the 8300 series. If monitors sound different in different rooms, as an audio engineer, it feels like going through hell every day. By using Genelec Smart Active Monitors with GLM, we were able to calibrate the monitoring systems for consistent sound from one room to the next. We were even able to fix acoustical problems while working with the consistent sound.” SOUND360 is also proving to be a popular new facility for Korea’s musicians. “We’ve been working with various young emerging pop artists,” said Choi. “We’ve just finished Atmos mixing and mastering ‘The Show’ live album by Blackpink.”

C hi of

www.genelec.com

The S CEO Jung Hoon Choi in the SOUND360 control room

South Korea’s SOUND360, the country’s first 9.1.6 Dolby Atmos studio, has installed Genelec’s Smart Active Monitors to help it further stand out from the crowd. Already a well-known figure in the Korean music industry through his record label Audioguy, SOUND360’s creator and CEO is Jung Hoon Choi. “The recording room is designed for Dolby Atmos 3D audio, and immersive sound recording and mixing,” explained Ha Neul Lee, the audio engineer responsible for both stereo and Dolby Atmos mixing at Audioguy. “Reverberation time and acoustic treatment for the studio were also calibrated for 360° mixing with the surround monitors.” Choi decided to create an immersive recording space believing that that is the future of audio recording, while SOUND360’s 9.1.6 format was selected for its ability to deliver 3D mixes through popular consumer devices. “Now that

immersive audio is available, Dolby Atmos is one of the various immersive audio formats that SOUND360 currently offers,” Choi added. “The mixes that are created by the 9.1.6 system here at the studio can easily be enjoyed using just a simple stereo system like you would find on a typical mobile device. This compatibility is at last making 3D audio more accessible to the public, and it is becoming popular.” When it came to the choice of monitors for the immersive space, Choi felt Genelec was the only option. “For audio engineers like me, the importance of monitor speakers cannot be overstated,” said Choi. “I have been using Genelec for a long time because I tend to set the monitoring level slightly lower than other engineers, typically around 75dB, and make it louder at certain points. Genelec monitors deliver consistent sound not only at loud volumes, but also at relatively low volumes

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The SOUND360 live area

Historic town hall invests in Robe moving lights NEW ZEALAND

One of five busy entertainment locations managed by Venues Ōtautahi, Christchurch Town Hall of the Performing Arts, has recently invested in Robe ESPRITE moving lights. Built in the 1970s and built again after the 2011 earthquake, the hall reopened in 2019 with a 2,222-capacity main auditorium and an 800-seat theatre, leading to its registration as a category 1 heritage building in 2020. With the reconstruction came the need to upgrade its lighting and sound. James Tull, senior technician for Venues Ōtautahi, was seeking a more sustainable, modern solution that allowed for quick changeovers between productions and events. “Quiet running was at the top of the list as the main hall is a primary orchestral space and concert hall, and is also used for corporate presentations and gala dinners,” he stated.

“Looking to the future, we like the idea of being able to change or replace the LED lightsource,” he confirmed, adding that he also wanted new lights that would work equally as well in the main auditorium and the theatre space, which would satisfy the requirements of Venues Ōtautahi, and the riders of incoming or visiting productions. Tull, also a programmer and a moving light tech, noted the impressive zoom and coverage, as well as the range of colours and quality of the colour mixing. “To have so many extra tools that are so easy to deploy is great and will make an enormous difference to the shows we produce and facilitate going forwards,” he concluded. Having been aware of Robe for some time, and with several rental companies having its stock to offer, Tull said Robe “continues to push boundaries of innovation”. www.robe.cz

50 PRO AVL ASIA March–April 2022

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NEWS: PROJECTS

Christie projectors highlight India’s Statue of Equality

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The Statue of Equality INDIA

Christie’s 3DLP laser projectors have been employed for a projection mapping showcase on the Statue of Equality in Hyderabad, which commemorates the 11th-century Bhakti Saint Sri Ramanujacharya. Eight Crimson Series laser projectors and four Griffyn 4K32RGB laser projectors have been utilised to highlight his life journey and teachings. The 66m-tall statue is one of the world’s tallest metallic statues in sitting position and is mounted on a building named Bhadra Vedi. The building includes a digital library, a research centre and a theatre. The showcase was installed and commissioned by Christie’s longstanding partner, Tricolor India Schauspiel, a systems integrator specialising in

“This is a landmark project and we’ve spared no effort in bringing this highly anticipated projection mapping showcase to fruition using a very capable and dependable projection system that can withstand inclement weather conditions,” said Himanshu Sabharwal, creative director, Tricolor India Schauspiel. “The Christie Crimson Series is our preferred choice due to its excellent track record in India, particularly in terms of performance, reliability and service support. We are also delighted to deploy Christie’s Griffyn 4K32RGB projectors for detailed projections on various structures overlooking the Statue of Equality.” Rishubh Nayar, sales director for India, Enterprise, Christie, commented: “We’re

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Indian Prime Minister Narendra Modi touring the facility architectural 3D projection mapping and son et lumière. The Crimson Series projectors were installed within two towers to deliver bright and intensely colourful images on the statue’s surface, while the Griffyn 4K32-RGB projectors were used to display imagery on the surrounding gates and walls.

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birth centenary of the Father of the Nation, Bangabandhu Sheikh Mujibur Rahman.EPS

FEATURES: VIDEOMAPPING

The Jatiya Sangsad Bhaban is one of the largest legislative complexes in the world

Bringing history to life Bangladesh’s iconic Jatiya Sangsad Bhaban – the National Parliament House – was projection mapped in a 35 million pixel celebration of the country’s independence day, reports Caroline Moss ON 16 DECEMBER 1971, BANGLADESH BEGAN LIFE AS an independent country following the end of Pakistani occupation and the War of Liberation. Celebrated annually ever since, 16 December is the country’s official Independence Day, commonly referred to as Victory Day. 2021’s Victory Day coincided with two other national celebrations: the birth centenary of the Father of the Nation, Bangabandhu Sheikh Mujibur Rahman, and the golden jubilee of the country’s independence. This called for a larger, more extensive celebration than ever before. With the President of India, Shri Ram Nath Kovind, among the guests of honour, celebrations included the nightly illumination of important buildings and locations, one of which was the Jatiya Sangsad Bhaban or National Parliament House of Bangladesh. An architectural landmark in the capital of Dhaka, it has come to represent the nation’s pride, freedom, sovereignty and heritage. The Jatiya Sangsad Bhaban illumination took place on the evenings of 16 and 17 December, with each show running for 90 minutes. Grey Advertising Bangladesh, one of the country’s leading live entertainment agencies, was commissioned to bring this vision to reality, opting to use the entire Jatiya Sangsad Bhaban building to display images and video to provide an insight into the history of the nation and its 50 years of independence. The Grey team contacted Indian AV service provider, Spectrum AV, which drew up a plan to bring the project vision to life, along with a succinct and effective strategy to achieve the desired results. “After understanding the grandeur of the event and the client’s expectations, we realised that the key priority of this project would be to ensure the optimal usage of the entire National Parliament House building as one single projection canvas; to fill every square inch of this with crisp images and brilliant colours that would accurately represent Bangladesh’s rich culture and heritage, while also spotlighting the country’s journey of independence and the progress it has made thus far,” explains Spectrum AV founding director, Jay Mathuria.

The Spectrum AV technical team The Spectrum AV team carried out an extensive analysis of the building which involved accurately measuring the entire façade of the Jatiya Sangsad Bhaban. Designed by architect Louis Kahn and constructed between 1961 and 1982, the building is one of the largest legislative complexes in the world. Kahn’s design optimises the use of space while representing Bangladeshi heritage and culture. The assembly building is visible through a concrete façade with white marble insets, pierced with enormous geometric cut-outs. The main building is divided into three parts: the Main Plaza, South Plaza and Presidential Plaza, while at the heart of the building is the assembly chamber, a 300-seat domed amphitheatre and a library, separated by eight “light and

air courts” and a restaurant, as well as entrances to a garden and mosque. More than 24 Barco laser projectors – the UDX-4K 32,000-lumen and new G100-WUXGA 22,000-lumen models – were deployed at strategic locations, with content covering every square millimetre of the 250m building frontage. The projection design was mapped onto the building via a system that included Dataton Watchout playback servers and Lightware matrix switchers, with additional transmitters and receivers from Lightware providing network redundancy. The team also deployed double the amount of Watchout server channels used in conjunction with Lightware matrix switchers to provide an additional layer of backup. “An unbelievable amount of time and effort went into planning every detail of the project, most of which began before we could even board the aircraft to Dhaka,” says Mathuria. “From narrowing down products and quantities to the transportation and logistics of the equipment, sorting out formalities and securing a thorough understanding of international health and safety protocols so that our team could work in line with all directed mandates – all of it demanded the utmost level of commitment from our entire team. Luckily, Spectrum AV has a workforce of talented professionals, which is why we could mitigate any challenges with relative ease.” The Spectrum AV team spent 48 hours setting up the technical infrastructure to run the show. Weather conditions and other environmental factors had to be taken into account, while 20 hours were spent programming the visual content and checking its reproduction on the building façade. “Seeing the building come alive with the 35 million pixels all synced with music and lights was truly a sight to behold,” comments Mathuria. “We’re very grateful to Grey and the government of Bangladesh for trusting us with the responsibility of such an important project, and we’re really pleased to take note of all the appreciation and praise that the show has received from all quarters.” www.spectrumavindia.com

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FEATURES: ENTERTAINMENT

The rear of the club is installed with a delay system of four Adamson E12s per side

Sending out an SOS One of China’s longest-running nightclubs has undergone a major upgrade, installing a new Adamson E-Series system in its cavernous main room. Caroline Moss reports IN A COUNTRY WHERE NIGHTCLUBS REINVENT themselves every few years, Hangzhou SOS Club is something of a legend. The club initially opened its doors in 2006 and has managed to retain its position as one of China’s leading nightclubs over the years in a highly competitive market. Part of the club’s success has undoubtedly been the fact that it’s strived to keep pace with the latest technology to continue rewarding its clientele with new and exciting experiences. This has recently been demonstrated again by a CNY80 million revamp. When it came to the choice of sound system, SOS turned to a brand that’s made its mark across clubs worldwide – Adamson – installing the Canadian manufacturer’s flagship E-Series large-format line array as the main dancefloor system. The system was provided by Real Music, which has been Adamson’s distributor for over a decade, with several branches across China. This was the fourth project where Real Music had worked with the owner of SOS, who also operates other nightclubs across the country. Another venue in Hangzhou, XX Dreamland Club, has also been installed with an E-Series system, while the Size Club, also in Hangzhou, has an IS10 line array system supplemented with Point 15 cabinets from the Point Series, and Beijing’s Club Me has also been installed with an IS-Series and Point 15 system. Additionally, three of the Space brand of clubs throughout the country boast large-format Adamson systems, indicating a growing trend for the brand in nightlife venues. The owner of Hangzhou SOS Club has stated that he appreciates the Adamson sound as it is tightly controlled and powerful, without causing fatigue while listening to the system for extended periods.

E219 subwoofers are arrayed beneath the stage in an arc formation The main room at SOS is a circular, 2,000m2 space with an 18m-high ceiling, and the Adamson E-Series, which was developed for large-scale performances, was chosen as it creates sufficient acoustic energy in this large space. Six E12 three-way enclosures have been suspended on each side of the semi-circular DJ stage by way of the modular, aircraftgrade steel Autolock rigging system. The E12 incorporates the E-Capsule, flanked with two separate birch ply enclosures, each containing Adamson’s proprietary Kevlar Neodymium 12-inch woofer, as well as mid-high components coaxially mounted on Adamson’s modified E12 Co-Linear Drive Module. Towards the back of the room, sound is output by a delay system consisting of four more E12s per side, while front fill consists of three IS10p two-way, full-range point source cabinets suspended at the front of the dancefloor. Ten Point 15 point source speakers – the largest cabinet in

Adamson’s Point Series range – are distributed around the venue, providing further infill. Five of Adamson’s E219 subwoofers, developed to bolster the low end of the E-Series range, are hidden underneath the DJ stage, arrayed in an arc formation. Further low-frequency energy for clubbers is provided by 16 IS219 and five IS119 subwoofers. The DJ station has been installed with a monitoring system from Portuguese brand NEXT-proaudio consisting of LA122W two-way compact wide-angle line array elements and an LAs118 compact subwoofer either side of the DJ position. To create a feeling of unity in the enormous space, clubbers are surrounded by a giant, curved screen, while specially shaped panels are located around the club, onto whose smooth surfaces an ever-changing display of images are projected. Lighting effects and holograms combine with these projections, and this immersive environment has been designed to create a sense of intimacy which brings clubbers together, as well as to increase a sense of anticipation upon entry. SOS has used the ceiling height to its advantage, filling the upper space with complex machinery to control lighting and screens, moving, lifting and rotating the visuals to envelop clubbers in a total 360° backdrop. The dynamic visuals are programmed to synchronise with the rhythm of the music from the immersive Adamson system. Once again, the Hangzhou SOS Club has managed to reinvent itself while retaining its position as one of China’s leading night-time venues, and to continue engaging its loyal fan base eager to experience the next generation of clubbing. www.adamsonsystems.com www.real-music.com.cn

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Changing the landscape

The audience was immersed in a recreation of what Kyoto sounded like 1,200 years ago

d&b Soundscape technology has been used to engineer an immersive sound performance combining live and recorded audio with digital art and modern dance

Shō player Katsuhiko Orii

ON 25 DECEMBER 2021, A COLLECTIVE OF WORLDrenowned immersive sound artists staged a live performance of field-recorded, synthesised and live-played sounds to transport an audience to Kyoto circa 800AD. Using a d&b audiotechnik sound system and d&b Soundscape technology, they bridged the gap between audio engineer and creative sound artist to merge ancient sounds with futuristic tech in a 360° audio experience. The Montreal-based Mutek festival, dedicated to the promotion of electronic music and digital creativity, produces versions of its events around the world. In December, the sixth edition of the Japanese incarnation opened, with one of the standout shows being Naquyo – The Visionary Universe of Heian-kyō. This immersive sound live performance was staged at Kyoto’s Rohm Theatre as a collaboration between Mutek JP and Kyoto Steam World Cultural Exchange Festival. The sound artists’ aim was to immerse the audience within an audio recreation of what Heian-kyō – the former name of what is now Kyoto – sounded like 1,200 years ago, with a soundscape that fused gagaku (classical Japanese court music) with cutting-edge electronic music to accompany a performance of contemporary dance with a backdrop of digital art. The project was conceived and performed by ambient composer Kazuya Nagaya and shō (Japanese reed instrument) player Katsuhiko Orii, together with audiovisual artist, Junichi Akagawa, and dancer, Kou Yamamoto (nouseskou). The ancient city of Heian-kyō was constructed with a distinct layout resembling a chess board, built around the concept of “Four Gods Suitability”. This derives from Japanese folklore,

whereby the north, south, east and west were guarded by four deities, and this is where the main temples were built. “What makes this interesting from an audio perspective is that the musical instruments were tuned to different pitches depending on the location within the city,” says Nagaya-san, who recorded ambient sounds of Shōmyō (Buddhist chants), Bonshō (sacred Buddhist bells) and thunder and wind at the temples, which still exist. The key to recreating what a resident of Heian-kyō would hear all those years ago was to immerse an audience within a 360° soundscape, with audience members invited to sit in a circle onstage at the Rohm Theatre, surrounding the performers. To ensure each person heard the ambient sounds, chants and bells with pinpoint accuracy, an object-based sound mixing solution was required, alongside sophisticated room emulation software and an array of loudspeakers designed to immerse the listener. In the pre-planning stages, Mutek JP introduced the Naquyo creative team to d&b audiotechnik in Yokohama, where they were given a demo by d&b audiotechnik Japan sales and market development’s Shozo Doi and EAS specialist Yo Kato, together with the team at Japanese d&b audiotechnik rental house, Treasure Island Corporation (TIC). Together, they designed the system that would form the audio foundations for the performance. At the heart of the d&b Soundscape system was the DS100 Signal Engine, the audio system based on a Dante-enabled signal matrix. The main system consisted of 16 d&b T-Series T10 two-way speakers with dual 6.5-inch drivers and a 1.4-inch exit compression driver, used in a point source configuration. These

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FEATURES: LIVE were evenly spaced around the audience, with an additional four T10s hung as ceiling speakers above the audience’s heads. The subwoofers were d&b V-Series V-SUB 18-inch cardioid models, one on each of the four sides. These were driven by d&b D20 four-channel amplifiers, and the team also used two DS10 Dante–AES/EBU audio network bridges. “We wanted to use the same model of speakers for all positions due to the nature of the performance, and we chose the T10 because of its small size and power,” says TIC’s Toru Kawamoto. “The V-SUBs were chosen because we wanted to reproduce a natural low end in line with the composer’s expectations.” The capabilities of d&b Soundscape would fundamentally change the audio artists’ creative approach to the piece. The two Soundscape software modules – sound object positioning tool En-Scene and in-line room emulation tool En-Space – offered them powerful ways to alter and position sound. En-Scene was used throughout the Naquyo performance, including for live performances of the shō, and applied to the sound of Buddhist bells and field recordings to reproduce a natural sound environment. “En-Space is excellent; it allows the artist to concentrate more on the production,” says Akagawa-san. “In the traditional combination of stage and audience, there is a clear separation between the audience and the performers. But this time, although we were the performers, the sounds we heard, the images we saw and the atmosphere we felt were exactly the same as the audience.”

Ambient composer Kazuya Nagaya was behind the conception of the immersive performance

Adds Nagaya-san: “Working with En-Scene was a new experience. The whole sound design process was very simple – no boosting on the bandwidth, HF tweaks or low cut on the channels thanks to the quality of the loudspeakers. Object positioning was tricky to start with, but I had great advice from Soundscape users. It was a learning journey and ended up working brilliantly. In fact, I cannot go back to producing on an L-R system anymore.” The sound design was a dynamic, live production that included live-triggered recordings alongside traditional instruments being played live. Selected sounds were programmed to follow dancer nouseskou’s movements, tracked via four sensors on his wrists and ankles. Each sensor was used as a single effect to control the playback position and pitch, using the Ableton Max for Live platform. Based on these movements, TouchDesigner visual programming software for real-time interactive multimedia content calculated the positions of the sounds and sent the coordinates to the DS100 via the Open Sound Control (OSC) networking protocol, updating the positions of the sounds within Soundscape. All the sounds in the Naquyo performance were sent to En-Scene from TouchDesigner, and the team set a delay mode that allowed each sound to find the ideal way to move. The team then used En-Space to select the optimum reverberation for each scene of the work, manipulating the scale of the space as perceived by the audience. “The natural coherency of the sounds between the loudspeakers when the sound objects moved, and the natural reverb created by En-Space and the ease of OSC integration with other equipment, was noted,” says Doi-san. “They were also surprised and thrilled with the d&b audio quality throughout the system.” Augmenting the experience was a lighting design that complemented the soundscape and sound triggers, and visuals via four large screens hung to emulate the north, south, east and west. “In one scene, we projected images of those four Kyoto locations onto the screens, while playing back the raw audio recorded in those places,” explains Akagawa-san. “Most of the sounds in the films were triggered and manipulated by our movements in real time, creating a complex but organic chain reaction.” Configuring a Soundscape system begins by first simulating the venue using d&b’s ArrayCalc, the software tool for the manufacturer’s line arrays, column and point source loudspeakers as well as subwoofers. This creates a threedimensional representation of the space in any venue, allowing for precise initial simulations and sound performance predictions. The team then decided on the speaker requirement and placement. By using the En-Scene simulation tool, they were able to visualise both the real and perceived acoustical performance in the space. “This was really useful in allowing us to confidently design the best-possible Soundscape system and get the most out of

Sounds followed dancer nouseskou’s movements, tracked via sensors on his wrists and ankles

A contact mic attached to stones struck together contributed to the soundscape

Audiovisual artist Junichi Akagawa it,” explains d&b’s Kato-san. “Within ArrayCalc, we could also configure the amplifiers and the DS100 system routing. This design file can then be opened in our remote-control software, R1, and used to control and monitor the system.” Mutek Japan is supportive of sound artists using d&b Soundscape. “Technology is an indispensable tool to explore the value of AV content and to constantly evolve,” says Shuichiro Iwanami, general director, Mutek JP. “The fusion of music and technology creates new possibilities for expression and the creation of valuable new experiences. d&b Soundscape allows you to ‘feel’ and ‘see’ sound as it unfolds before your eyes, offering a completely new sonic experience. We believe that by artists having access to this system, we can create a new attraction for digital music and creative art. “In these changing times, technology is an indispensable tool for exploring the value of AV content and keep it constantly evolving,” he continues. “You can determine when a digital music performance has been a success when the sense of creativity and immersion heightens the experience of being in the moment.” Naquyo – The Visionary Universe of Heian-kyō was produced with the support of Uryuyama Gakuen Kyoto University of the Arts Department of Historical Heritage. www.dbaudio.com www.dbsoundscape.com

The lighting design complemented the soundscape and sound triggers

www.ticjp.com

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FEATURES: IMMERSIVE AUDIO

Walking into art

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The iconic Great Wave off Kanawaga woodblock print inspired content for Ukiyo-e Visions

An immersive art exhibition has opened on the Shanghai Bund, created by teams in the Chinese city as well as in Paris, Rome and Switzerland during lockdown. Caroline Moss has a virtual tour of the spectacle THE TREND FOR ALL THINGS IMMERSIVE HAS SEEN the emergence of technology-driven digital art exhibitions that surround visitors with evolving images accompanied by musical soundscapes. Recent examples have been L’Atelier des Lumières in Paris, Van Gogh: The Immersive Experience in locations across APAC, the US and Europe, Fête des Lumières in Lyon, France, Vivid Sydney’s annual immersive light and sound exhibition and teamLab’s installations, many of which have been in China’s main cities. Continuing in this tradition is Temple of Light presents Inside by Danny Rose Studio, which runs through until December on Shanghai’s bustling North Bund waterfront with a Meyer Sound Ultra-X20 spatialised audio design to complement the enveloping visuals, output from 11 Dataton Watchout servers via 35 Epson EB-PU100 7W 7,000-lumen, 3LCD projectors. The 40-minute display consists of two pieces. First up is the 10-minute Mutations segment: an abstract display of spinning geometric shapes, waves and angles appearing from all corners of the room, multiplying and changing shape and colour with dazzling speed, accompanied by a soundscape of digital music. This is followed by the more restful half-hour Ukiyo-e Visions, which combines massive renderings of 17th- to 19th-century Japanese woodblock art featuring the iconic Great Wave off Kanawaga print, as well as traditional Sakura (cherry blossom) trees, geishas and scenes from Kabuki theatre. A dozen giant paper fans slowly unfold with the space morphing into scenes of forests, waves and flowers as the images are animated and brought to life. The show ends with Ryuichi Sakamoto’s haunting piano piece, Merry Christmas Mr Lawrence, as a cloud of lanterns illuminate a night sky. The exhibition, which is staged in a 700m2 metal “box”, was created by Jean Borie de Varine, a French national living in Shanghai with a passion for both China and the art world, together with his company co-founders Robert Zheng, Peng Li, Romain Sarfati and Arthur de Villepin. The team worked in conjunction with Parisian multidisciplinary design studio Danny Rose, which specialises in immersive digital art made with

high-tech projection and sound. Meanwhile, Jacopo Carreras and his partner Emanuele De Raymondi created the accompanying soundtrack in the studio of their Rome-based company, Audit-orium, with support coming from Meyer Sound’s technical support specialist, José Gaudin, in the Swiss mountains. So far so interesting. But what makes this project truly extraordinary – stunning visuals and enveloping soundtrack aside – is that it came to fruition in less than a year, in a building constructed in a mere 10 days, with most of the creatives collaborating remotely due to pandemic restrictions; in fact, Borie de Varine, Carreras and Gaudin have yet to meet in person. While studying art business and marketing at university, Borie de Varine travelled to China, falling in love with the country and determining to bring art and culture to Chinese cities and distribute Chinese art around the world. “After university I created a company to create art and organise exhibitions that were cultural exchanges between Chinese artists exhibiting in Europe, and European artists that I exhibited in Asia,” he recounts. “I wanted to create something new in China, and I started hearing about the possibilities of digital technology. I met some people who are my partners today that helped me to create this vision and create our company, Temple of Light, and this exhibition of the same name.” Working with architects, Borie de Varine and his team took a few months to build the elements for the semi-permanent structure in a factory. Construction on the Bund took just 10 days, with 150 workers onsite day and night to create the 700m2 box, which has a ceiling height of 6m and provides 550m2 of exhibition space. Two local systems integrators installed the AV technology, working from designs from Jacopo and Danny Rose studios. The audio system consists of 28 Meyer Sound Ultra-X20 compact, self-powered, full-range speakers and 11 USW-112P self-powered subwoofers, with networking and zone control handled by three Galileo Galaxy 816 processors. Meyer’s Gaudin was part of a team that designed and developed the workflow and technology interface that was being envisioned for this project. “I was also involved in a project in

Temple of Light co-founder, Jean Borie de Varine

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FEATURES: IMMERSIVE AUDIO Bordeaux, Les Bassins des Lumières, that was a reference for this,” he explains. “The requirement was for immersive coverage which comes with its own criteria, such as coverage overlap, headroom and image anchoring.” Creating a design using Meyer Sound’s 3D prediction software, Gaudin put forward several loudspeaker options for the different zones of the building, discussing the possibilities remotely with the team in China. He also explained various processing options with Audit-orium in Rome, advising on how to virtualise the space in the studio to transfer directly to the popup installation in China. “From a technical support perspective, I was able to work with my Chinese colleague onsite, providing remote access and situational awareness, as well as my own expertise,” he says. “Overall, we were able to design and produce content in different countries in Europe while the exhibition was being built in Asia. In the past two years we have been involved in more remote control methods and software, increased the ease of exchanging files for our devices, and have become much more used to remote working, so this really helped bringing together a group of people that have never met in person.” In Rome, the soundtrack had taken shape. Carreras’ wide experience ranges from producing, composing and experimenting with electronic music to running record labels in Berlin and working with multimedia content and installations. In 2018, he started a company with former schoolfriend De Raymondi, a classical music and cinema composer. “We provide solutions for immersive situations, which is growing fast, and it’s a very exciting time,” he says. “Just three or four years ago we were asking ourselves if we were crazy trying to do this, but then we started to find technical partners and producers, like Jean. We’re also lucky to work with Meyer Sound because they started using spatialised technologies and experimenting with it at least 40 years ago.” Carreras was brought onboard by Danny Rose, with whom the company has a long-term relationship. “We’ve provided soundtracks for quite a lot of shows with them, and we’ve been working with Sergio Carrubba, the head of Danny Rose,

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FEATURES: IMMERSIVE AUDIO collaborating on musical content and sound design,” he continues. “They have a poetic approach to their immersive shows, finding solutions that don’t just have a bombastic effect but are also subtle and meaningful.” The Japanese section of the show features a lot of non-original musical content. “This is the brilliance of working with Sergio – his relationship with the soundtrack from an emotional point of view,” explains Carreras. “We were able to record some covers of a notable Japanese artist, Hiroshi Yoshimura. Starting with the original content, we rebuilt it using space as a fourth parameter, along with timbre, pitch and tempo. We’ve developed 21 soundtracks which all blend together to build a unique soundfield, so there’s a huge level of layering which happens not only on the timeline but also on a ‘spatial line’.” The melodic structure involved in creating this was very complex. “We banged our heads against walls a lot of times working on this in our small studio, where we produce and develop the technology and content for this kind of immersive experience,” he continues. “In our vision they are practically working together, we don’t have a separation between the two. We had to develop our own plugins and a lot of other things to produce this; it’s been a long, ongoing journey. It began with the issue of combining classic DAW production schemes, placing sound objects in space, customising this space for the end delivery and monitoring the virtual space for production. Being a long-time user of Max visual programming language for music and multimedia, and having the powerful combination of Ableton Live and Max for Live available, we developed our own path, which differs quite a lot from other production suites. The plugins allow us to be very creative, flexible and relatively quick in producing or adapting content to different scenarios. The biggest challenge has been translating the virtual space to a physical listening environment. We used several spatialisation techniques and custom-built convolution reverbs. There is a lot of theory, and much more trial and error.” To tailor the audio content to fit the space in which it will be played, Audit-orium has a 12.2 listening environment installed with 12 PreSonus Sceptre 6 coaxial speakers distributed over two levels, eight at ear level and four overheads, plus two PreSonus Temblor T10 subwoofers. “This creates a kind of ‘half-dome’ listening experience,” Carreras explains. “All signals are managed via an AVB [audio video bridging] network based on several Motu 1248, 16A and 8PRE audio interfaces. We can work with several computers at the same time and use a huge amount of channels with very low latency.” A particular challenge was the creation of sound files to be played back on Meyer components in Shanghai that weren’t present in Rome. “Our plugins allow us to be precise in positioning sound sources in a virtual space,” says Carreras, “and from Jean’s feedback I could say it was fairly accurate, but

Audit-orium’s Jacopo Carreras at work in Italy

A cloud of lanterns illuminating a night sky brings the exhibition to a close as this is science fiction fantasy, it’s never going to be 100%. However, it allowed us to be relatively precise from a sound positioning point of view and also effective when it came to SPL. It was so important to have found a partner in Jean; I explained what we wanted to achieve and he understood, suggesting solutions to problems we might encounter.” Carreras is equally appreciative of the relationship with Meyer Sound. “We had a lot of support, especially from José Gaudin and Scott Gledhill,” he says, citing the precise speaker design as

Meyer Sound’s José Gaudin evidence. “It’s been designed to achieve exactly what we wanted, and also to fulfil Danny Rose’s main objective: subtlety in contrast with really intense moments. It’s impossible to calculate 100% what’s going to happen in your space, virtually. But we could at least experience it virtually, which was very important from a composition point of view.” Carreras believes that this way of creating music calls for a different approach and classification. “I don’t think we should even talk about sound design or music anymore, but of creating a soundfield,” he explains. “This is the real challenge and it makes it interesting for us as producers. It’s so difficult to find technologies that meet our requirements. It’s great to produce for, say, Dolby Atmos, which has become a real standard for the development of the surround environment, but it’s a static situation, you’re listening from one position. The classic question we receive from the installers is: ‘So where’s the stage, where’s the screen?’ The answer is that there is no stage; there are many screens. And then the next question is: ‘How do we calculate delays?’ and, of course, there are no delays to be calculated!” In former times, Carreras would have travelled to the site to carry out the fine-tuning; something that wasn’t possible when the exhibition opened in December 2021. Accordingly, although he admits a huge amount of pride in what the different teams have accomplished in realising the project while working remotely, Carreras’ last words are entirely understandable. “I’m really looking forward to taking a plane and getting to Shanghai to see it for myself!” he exclaims. www.audit-orium.com

The Temple of Light is located on Shanghai’s busy North Bund waterfront

www.meyersound.com

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FEATURES: EDUCATION

Providing clarity Sunrise Trading Company has supplied the Macao Polytechnic Institute with new Hortus Audio sound systems to enhance the quality of teaching, Caroline Moss reports

The Macao Polytechnic Institute campus building

The smaller teaching rooms are equipped with L-R BZ6 systems

Hortus Audio CLA-810 500W column speakers are installed in the larger teaching spaces

HONG KONG-BASED SUNRISE TRADING COMPANY, which has represented the French brand, Hortus Audio, since 2017, has supplied and installed a range of permanent sound systems for the Macao Polytechnic Institute. Formed in 1981 with a current level of around 3,200 full-time undergraduate students as well as postgraduate programmes, the polytechnic was undergoing campus-wide renovations, and decided that this would present an ideal opportunity for a complete overhaul of its audio equipment across 55 lecture rooms and three lecture halls. As its existing systems were deemed too noisy, the main criterium was to find a range of products that would enhance audio clarity for the students during lessons and lectures. This became even more critical as the pandemic took hold, demanding that clear, concise teaching could continue to be delivered remotely, or in safe spaces when restrictions permitted in-person classes to resume. “The Macau Polytechnic Institute sought a high-quality sound system which would ensure that teachers could be clearly heard by students when delivering lectures,” explains Hortus Audio’s export sales manager, Daniel Morrison. “Sunrise Trading Company has expressed a lot of confidence in the Hortus Audio brand, and believes that there is an advantage to the fact that the products are manufactured in France.” The teaching rooms at the Macau Polytechnic Institute range in capacity from around 20 students in the smaller classrooms, right up to 378 people in the largest lecture hall. The BZ6 three-way, full-range speaker, which forms part of the Hortus Audio Curve Series, was chosen as the main component of the installation, largely due to results that have been obtained from previous installations where speech was a priority. Consisting of a 6-inch low-frequency, bass-reflex speaker and two 3-inch mid-frequency units, the BZ6 can provide a bandwidth of between 75Hz and 20kHz, and delivers 100W AES power at 8Ω, while being of slim

enough dimensions to provide clear yet unobtrusive sound reinforcement. A total of 170 BZ6 speakers have been used throughout the refurbishment, with many of the smaller lecture and seminar rooms having been installed with an L-R system of BZ6s mounted on opposite walls.

Wall-mounted BZ6 enclosures are a common sight around the campus The Macau Polytechnic Institute installation also consists of eight Hortus Audio CLA-810 500W column loudspeakers across the larger teaching spaces, with preset digital signal processing and a frequency response ranging from 140Hz–18kHz. Where required, low frequency is provided by six CBA12S three-way, stereoamplified 12-inch CBA12S subwoofers with integrated DSP, while 55 AP2-280 two-channel, 280W amplifiers

drive the systems. The order also included the necessary accessories for installation of the 85 BZ6L and 85 BZ6R speakers in parallel on opposite sides of the classrooms, plus mounting accessories to attach the loudspeaker columns to the subwoofers, taking advantage of the different mounting options that are available. The Hortus Audio products have been installed alongside Behringer digital mixers, Sinew multimedia teaching controllers, Linkx infrared microphone systems and Neatron conference microphone systems, also provided by Sunrise Trading Company. Following a dedicated manufacturing and assembly process, the Hortus Audio products were delivered in two shipments, one of which took off by plane during one of the lockdowns in France. The installation team, headed up by Sunrise Trading Company’s systems integrations partners, did not face any notable challenges throughout the project, which unfolded smoothly. Given the budget and project plan, the team designed an optimum approach to diffuse the acoustics within the different set of rooms and halls. The clarity of the sound also had to be configured for online learning, which has steadily assumed greater importance in the institute’s teaching methods during the pandemic. At the time of writing, only around one-third of the lecture rooms were being used due to Covid-19 restrictions, so the institute is yet to experience the full force of its new audio systems throughout the refurbished campus. However, Morrison reports that initial feedback from teachers has been very positive, stressing that the sound during classes is much clearer than before, with students able to hear well during face-to-face lectures and online teaching sessions via Zoom. www.hortusaudio.eu www.sunrise-trading.com

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MTS SERIES

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ENGINEERED TO FILL LARGE VENUES Each MTS standard model is equipped with four 15” woofers and dual coaxial mid/high frequency compression drivers. The four slot-loaded, high-efficiency low-frequency drivers are symmetrically coupled to the same full-range waveguide as the compression drivers to create a true point-source with substantial bass response, eliminating the need for additional subwoofers in many applications.

UNIQUE CARDIOID MODELS The MTS series offers another key differentiator from the current competition. Equipped with two additional woofers, cardioid models deliver full-bandwidth directivity control that reduces sound spill outside the pattern, enhancing dynamics, improving sound quality and clarifying speech intelligibility.

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FEATURES: LIVE

Setting up Shure TwinPlex laveliers and Schoeps MK 41 cardioid condenser mics for the oath-taking session

L–R: The sound team Wang Haidong (FOH and monitor engineer), He Biao (chief sound designer), Chen Jianye and Hu Wei

Let the games commence

L–R: Playback system engineers, Yu Jiafeng and Zhao Quian

The opening ceremony for the Beijing 2022 Winter Olympics featured The Story of the Snowflake to symbolise peace and harmony. Sue Su reports from the Bird’s Nest Stadium ON 4 FEBRUARY, THE BEIJING NATIONAL STADIUM, aka the Bird’s Nest, became the first-ever venue to host both opening and closing ceremonies of a Summer and Winter Olympic Games. Due to pandemic restrictions, around 3,000 performers took part in the 100-minute opening ceremony, with director Zhang Yimou also relying on sound, lighting, video and pyrotechnics to make an impact. The sound system had to relay live performances and TV broadcasts while also triggering lights, video, lasers and pyrotechnics. System design needed to achieve uniform coverage and sufficient SPL, as well as forming a complex audio transmission network and a control and routing system. Then there was the climate, with prolonged low temperatures, rain, snow and strong winds presenting challenges for system performance. Chief sound designer He Biao led a technical team of nearly 100 people consisting of consultants, technicians from audio equipment manufacturers and onsite technical support staff. He’s team had prior knowledge of working in the Bird’s Nest, having staged many large-scale performances there, and this saved time when wiring and setting up, as well as streamlining interaction with the Olympic Broadcasting Services (OBS) company. However, most previous events have been held in summer, as major outdoor events in northern China are a rarity in winter. “Our first consideration was whether the equipment could maintain stability in extremely cold and severe weather,” explains He. “We asked manufacturers for success stories when working in extreme cold weather and learned how equipment was used in previous Winter Olympics. We also rented cold storage in August 2021, and all brands were tested for extended periods of time down to –20°C.” The stadium’s reverberation time also brought challenges. “The Bird’s Nest is one of the few open-air stadiums in the world to make provision for sound absorption,” continues He. “It has two layers of membranes with holes, which absorb sound to a certain degree. But, since 2008, the reverberation time has become longer due to the progressive blockage of the holes with dust. Also, we’ve previously only covered half of the venue, but this time it was the whole stadium, so intelligibility was a big challenge.” The sound system combined equipment from L-Acoustics and Chinese brand, hi end plus. Due to pandemic restrictions, around 30,000 spectators filled less than half the seats in the Bird’s

A hang of L-Acoustics K2 line array cabinets

Nest but were distributed around all four sides across the six tiers. The west side, housing the VIP seats, was covered by eight hangs of L-Acoustics K2 line array elements, each with 12–16 K2s depending on the height of the seats. All were driven by LA12X amplifiers and monitored by LA Network Manager software. The north, south and east sides of the stadium were covered by hi end plus K12 double 12-inch line array speakers in 14 clusters, ranging from 8–15 cabinets. Twenty-four groups of hi end plus K10 double 10-inch line array cabinets and hi end plus S28 double 18-inch subwoofers were ground-stacked in the infield. Eight hi end plus A8s were also used to improve clarity on the third tier. Providing monitoring for the west side of the performance area were four clusters of three hi end plus K20s stacked at the side of the LED screen, with two clusters of 16 K8s flown from the stadium roof to cover the far central and eastern areas. All hi end plus speakers were powered by the brand’s H8K four-channel amplifiers. All speakers were IP55-rated to resist low temperatures, rain and snow. The 16 amplifier rooms were constructed within insulated sheds, with IoT technology monitoring the temperature and humidity. FOH and monitors were both under the control of sound engineer Wang Haidong working on a single DiGiCo SD7 Quantum console, with another SD7 Quantum as backup. Each was equipped with an SD-Rack stagebox for redundancy. SD7 Quantum architecture allows switching between two engines, providing two consoles with double backup of the control surface and quadruple backup of the engine. The system formed a ring and a star topology with the consoles at the core. The ring network handled inputs to the consoles with the star network used for the signal transport and output of the entire system. The ring network converted the signal from MADI to fibre optic and was connected to two mirrored DiGiCo SD-Rack stageboxes through DiGiCo’s Optocore system, taking charge of the SD7’s input, processing and backup signals. Almost 1,000 audio signals including live reinforcement, recording and the OBS broadcasting system were output to each audio subsystem by the star network composed of DirectOut products, with M.1K2 16-port MADI routers at its heart – two for transporting signals for the sound reinforcement and recording systems and two for the OBS system.

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FEATURES: LIVE For the live system, signals were transported to two M.1K2s, one as a master and one for backup, distributed to 14 ANDIAMO 2 AD/DA MADI converters and then transported to the amplifiers and speakers. Signals from wired microphones were sent to two ANDIAMO.MC 32-channel mic preamps and AD/DA converters. The M.1K2 routers also output signals to the recording system. Following pandemic requirements, technical staff were separated in strictly maintained bubbles. Two mirrored DirectOut M.1K2 MADI routers relayed audio to the OBS team. The main and backup DiGiCo SD7 Quantum consoles and SD-Racks were connected to the two M.1K2s and the signals’ word clock relocked by DirectOut MADI SRC sample rate converters before being finally transmitted as MADI signals to the OBS for broadcasting in 2.0 stereo and 5.1.4 formats. Sound sources included live pickup from the music playback system, with 18 scenes throughout the ceremony. All music and VCR soundtracks were produced in 2.0 stereo and 5.1.4 formats. The QLab Pro playback programme output both formats to meet OBS production requirements, with the system consisting of four Mac mini and two DirectOut ExBox.MDs. Lighting, video and pyrotechnics were triggered by the playback system’s timecode, relying on DirectOut’s ExBox.MD Dante/MADI converter featuring Enhanced Automatic Redundancy Switching technology to prevent interruption of the output signal. Microphones were chosen to work at low temperatures without compromising sound quality. After six months of testing, the team decided on Shure Microflex, BETA, KSM and TwinPlex series wired mics and Axient Digital wireless systems, Sennheiser MKH series wired mics and a Digital 6000/9000 wireless system and Schoeps wired mics. Three speeches needed particular attention: those of Chinese President Xi Jingping, the president of the Beijing Winter Olympics Organising Committee and the president of the International Olympic Committee, plus oath-taking by the athletes, referees and coaches. All had quadruple backup, with President Xi captured by four Sennheiser MKH 416 wired microphones, two of the signals transmitted in backup mode and two sent wirelessly by Shure Axient Digital AD3 transmitters in frequency diversity mode. Two Shure MX415DUAL gooseneck condenser mics were used for the Olympic presidents, while eight Schoeps MK 41 wired super cardioid condenser microphones and eight Shure TwinPlex lavalier wireless microphones were used in the oath-taking session, providing quadruple backup. Twenty-four channels of Shure Axient Digital, 28 channels of Sennheiser Digital 6000/9000 wireless system plus four channels of Shure PSM 1000 wireless IEM were used for the ceremony. Four sets of Shure HA-8089 helical antennas on the fourth floor covered the main stage, with another four sets of Shure UA874 antennas on the first-tier seats for wireless mics near the national flag. Four Wisycom MAT288 RF matrix/ combiners and two Shure UA845 antenna splitters were used for RF signal routing. Due to the narrow bandwidth, two Shure AXT600 spectrum managers were used, one to store backup frequencies and the other for continuous spectrum scans.

A DiGiCo SD7 Quantum shared FOH and monitor duties with another for backup

hi end plus A8s improved clarity on the third tier

Rehearsals for the closing ceremony, for which He’s team used the same audio system Low temperatures and changeable weather presented challenges for system alignment, with the team using both L-Acoustics’ P1 measurement platform and Smaart software as well as their ears to adjust the system. “We started setup last summer, alignment at the end of July and rehearsals in September,” says He. “Winter performances in Beijing are not only affected by wind, but also ever-changing humidity and temperature, so we kept doing the alignment, gathering experience along the way.” A global audience of 16 million watched the opening ceremony as hundreds of children ran across the Bird’s Nest holding illuminated dove props before the lighting of the torch. The LED floor lit up with snowflakes and stars as the singing children surrounded a huge

snowflake made from the 91 smaller ones carried by each country during the Parade of Nations. Representing peace and harmony, the Olympic olive branch symbol also formed part of the snowflake. For He’s audio team, the successful culmination of the Beijing 2022 Winter Olympics Opening and Closing Ceremonies – the latter deploying the same audio system – no doubt symbolised great pride and relief as well. www.directout.eu www.hiendplus.com www.l-acoustics.com www.sennheiser.com www.shure.com

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FEATURES: POSTPRODUCTION

Enhanced surroundings

Singapore’s state broadcaster and content provider Mediacorp has added two Dolby Atmos HE (Home Entertainment) suites to its Mediacorp Campus, the facility it moved into five years ago. Caroline Moss finds out more

MMS now caters for Dolby Atmos HE as well as DTS:X and Auro 3D formats MEDIACORP CAN TRACE ITS HISTORY BACK TO THE beginning of radio broadcasting in Singapore in 1936, and today runs seven TV and 11 radio channels, plus an ondemand streaming service, MeWatch. Its technical operations have diversified and grown over the years to encompass interactive media, filmmaking and media publishing businesses. In May 2017, Mediacorp opened the Movie Mixing Studio (MMS), the centrepiece of its Audio Post unit at the new 79,500m2 Mediacorp Campus, where it joined six sound mixing studios working on music and sound effects postproduction for in-house and third-party TV programmes and films. Now, Dolby Atmos HE functionality has been added to two of these studios. “As one of the leading audio postproduction facilities in Asia with over 40 years’ experience in the industry, Mediacorp’s Audio Post is known as the one-stop solution for all audio production needs with specialised expertise in music and sound effects design, music composition and sound recordings for TV programmes and films,” explains Mediacorp’s AVP production resource, Tan Chee Beng. “Our mixing studio supports a range

A 7.1.4 Dolby Atmos HE setup has been created for ADS2

Avid Pro Tools is now standard across Mediacorp’s facilities

L–R: Tan Chee Beng with Mediacorp’s senior sound designer, Naveen Chander Kothandam Murugan, and principal sound designer, Yong Chin Liang

of immersive audio technologies from Auro 3D and Auro Max to DTS:X and, with the latest adoption of Dolby Atmos HE, is now the first and only immersive-certified sound mixing studio in Southeast Asia to support all currently available immersive audio technologies. Annually, we deliver music and sound effects for up to 1,600 hours of internally produced content, as well as for key external productions, including overseas projects.” The move to add Dolby Atmos HE certification was partly decided by the increased consumption of content at home, compounded by the impact of Covid. “We decided to adopt Dolby Atmos HE technology, which delivers high-quality surround audio for home entertainment,” continues Tan. “Not only does this allow us to further improve our capability to produce content in an immersive sound format, it will also prepare us for future developments in technology with its adaptability to playback devices.” According to Tan, adapting to Dolby Atmos HE was a seamless transition. “Our sound designers were already highly trained in existing immersive sound technologies like Auro and DTS:X formats,” he confirms. “The configuration only took two months to complete, despite ongoing safe management measures and workplace segregation arrangements due to Covid-19. The only challenge we faced was the longer delivery process of certain equipment due to the pandemic. Fortunately, these were eventually delivered, and the system was implemented within the project timeline.” Mediacorp underwent a facility-wide conversion to Avid Pro Tools shortly after moving to its new premises. “With our move to the Mediacorp Campus in 2017, we had taken the opportunity to expand our capabilities and facilities as part of our ongoing efforts to keep pace with improvements in sound technologies to continue engaging our audiences through quality content featuring superior sound productions,” says Tan. “These included transiting to Avid Pro Tools. Being the industry standard for audio software, Pro Tools allows projects to be completed on one unified platform. It has a myriad of features to increase productivity and convenience for our audio engineers. Furthermore, the Pro Tools software is constantly updated to include new features to support the latest technologies, such as Dolby Atmos HE. Through this transition, Mediacorp’s Audio Post is equipped with the necessary resources to take on any project requirements from our clients.” Adds Geoffrey Low, senior content relations manager SEA and ANZ, Dolby Singapore: “Avid integrates with our Atmos renderer very well so it was easy to get Mediacorp

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FEATURES: POSTPRODUCTION enabled. Seeing how Covid has affected the cinema industry, we approached Mediacorp to see if they were interested in producing Home Entertainment content in Dolby Atmos. Mediacorp has always been interested in immersive audio and they have been capable in other formats. We were invited to Mediacorp to explain about Dolby Atmos Home Entertainment and provide training to enhance the team’s knowledge.” Two existing studios, ADS2 and MMS, have been equipped to handle the new format. Local systems integrator, IMS Mahajak, worked with Dolby to reconfigure the studios under project manager, Edwin Wijaya. “For certification, we have a set of minimum requirements, and these studios fulfilled them correctly when it came to acoustics and equipment capabilities,” continues Low. “Apart from some equipment that needed to be added, the monitoring calibration is slightly different to theatrical mixing, which was what Mediacorp had been equipped for. We created separate monitoring calibration which adapted the existing Quested speaker layout so that it meets our requirements as well as allowing them to mix accurately for delivery in HE.” Dolby worked with Quested distributor, SSL Asia, to identify which of the speakers in the studios coincided with the Dolby Atmos HE layout. The existing setup of Quested monitoring in MMS, which also caters for the DTS:X and Auro 3D immersive formats, comprises six Z16 cinema speakers for the LCR channels, with 28 Z8R surround speakers, four Z8 ceiling speakers and five X18 subwoofers. These speakers were recalibrated to create a 9.1.4 Dolby Atmos HE setup without needing to be repositioned. “The calibration was performed without disturbing the settings for the other formats,” says Low. “We adapted the existing speakers, which were already very close to our HE requirements, so it was a very simple process, given the world-class studios, to reach the desired certification standards. We used Avid’s DADman software control to create a specific monitoring profile for Dolby Atmos HE which sends the monitoring signals from the RMU to the identified speakers for a 9.1.4 monitoring layout. Users working in MMS can switch between the three immersive formats without any hassle.”

Mediacorp’s AVP production resource, Tan Chee Beng A 7.1.4 Dolby Atmos HE setup has been created for ADS2, consisting of V2108 studio monitors for the L, C, R, LS, RS, LRS and RRS channels, four Quested S7 height speakers and a Quested X15 sub with an SBC800 low-frequency management system. EQ calibration is handled by an Avid MTRX Studio interface with DADman software. Upon Dolby certification, facilities are required to purchase Dolby’s RMU (Rendering and Mastering Unit). This provides the necessary tools to create a Dolby Atmos master file for delivery, while also providing the calibration EQs, especially important for MMS. Both rooms are also equipped with Avid S6 M40 consoles. The first programme to leverage Mediacorp’s new Dolby Atmos HE system in 2021 was an original drama series for streaming platform iQiyi called The Ferryman: Legends of Nanyang. This came in when Mediacorp was still undergoing training on the new format. “We supported Mediacorp on this project, enabling

their studios and HE monitoring calibration and training their teams to mix and deliver in Dolby Atmos HE,” says Low, adding that Mediacorp developed an effective and efficient workflow to deliver the series in Dolby Atmos HE. Mediacorp is currently broadcasting programmes in the 5.1 surround sound open format on its free-to-air channels while continuing to work on leveraging its other immersive sound technologies. “We anticipate a growing demand for content featuring immersive formats in Singapore, influenced by increasing adoption by global media companies for their titles,” concludes Tan. www.avid.com www.dolby.com www.mediacorp.sg www.quested.com

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BUSINESS: COMMENT

A letter from America Immersive audio: great for picture, not so much for music, as Dan Daley discovers MUCH HAS BEEN WRITTEN ABOUT APPLE’S implementation of spatial audio, the immersive audio format powered by Dolby Atmos. The announcement last summer immediately conjured up memories of surround music formats from years before, starting with quadraphonic right through to music DVDs. For three decades, multichannel music endeavours set sail for the lucrative shores of music consumers’ wallets. None have been heard from since. It would seem clear that most people listen to music differently than engineers, mixers and producers, who habitually seek the sweet-spot perspective while pushing audio’s technical envelope. Furthermore, Apple has a history of putting things into their ecosystem regardless of whether consumers want them or not – remember when it “gave away” a certain U2 album? Spatial audio is simply the latest in that trend. Given how music is consumed, formats that are location-dependant tend to not gain much traction. But broadcast, now that’s another story, and a rather ironic one at that. Stereo audio for television was approved by the Federal Communications Commission back in 1984 and was quickly integrated into broadcasting’s workflow. The next step, surround sound, came about with the inclusion of Dolby’s AC3 codec in the ATSC revision in the early aughts.

That brought the 5.1-channel configuration to the airwaves, and it sounds great – in fact, most broadcast television now originates as a discrete 5.1 mix. The aforementioned irony, though, is the fact that most people don’t have the hardware at home to hear it and, even if they did, it would more often than not be wired improperly and out of phase. More importantly, 5.1 surround is intended to support a picture, whether a movie or a match, and sync is more important than listener localisation. Who cares where you’re sitting when Liverpool or Las Vegas scores? But that never stopped broadcasters from pushing the sonic frontier forward, and the borderline is now at the rim of immersive audio. Under its technology bonnet, broadcast is relying on Dolby Digital Plus, a lossy, lower-bandwidth format that has been optimised for use with streaming services (the format is currently used by Netflix and Amazon) and is supported by a wide range of devices, including laptops, tablets, smartphones and streaming boxes like Apple TV and Roku. DD+ makes it easier to slide Atmos into the consumer television ecosystem, which will ultimately give immersive sound more traction. Also helping immersive’s cause is the fact that, unlike previous multichannel audio efforts, Atmos isn’t an audio signal per se, but rather metadata about those signals, its

processor directing sonic objects in a mix around a listener’s speaker map. The real beauty of Atmos, though, is that it will sense the number and location of a user’s speaker setup and automatically adjust to accommodate it, meaning consumers can use soundbars to experience an immersive effect, sidestepping the multi-speaker placement issue. Atmos is, in a very real sense, meeting consumers halfway on the road to immersive, rather than dictating a speakerchannel count, and that’s important, because without consumers there is no business. It’s going to make sports more engaging and other visual media content an even better experience. The same goes for live event applications – some museums and theatrical productions are already implementing immersive audio experiences. Music, though? Not so much. Despite the availability of products like Garageband on iPhones, most consumers aren’t really interested in how the sausage gets made; they simply want to eat it, and on their own terms. This dynamic underscores how it’s the professional side of music that pushes what it often thinks is the envelope of production when all it’s really doing is following its own sonic fantasies down a cool tech rabbit hole. Put a simple beat and great hook through even a barely there mono sound system and there will be dancing. Save the surround tricks for the picture.

A letter from Europe Phil Ward looks at the reality of an Expanded Universe YOU WILL NOTICE THAT THE TITLE’S INITIALS ARE EU. That’s right, these two inoffensive letters also stand for other things. It depends on where you work. An astrophysics laboratory, perhaps. But the universe is expanding, if Europe is the centre of your universe. And – providing final proof of the ancient theory about an ill wind not giving anybody a good blow, or something – the gale force behind this expansion is riddled with particles of Covid-19, believe it or not. Thanks to the pandemic, MI and home recording suppliers have been reporting record sales. This is understandable. When “working from home”, the sensible executive is mastering his arpeggios, or her latest album. Zoom is not Big Brother. This also explains the rise of entertainmentindustry-in-a-box systems like Roxi, offering “70 million” song streams and 90,000 karaoke songs, as well as games and themed radio channels. Although it really would be a shame if you could never again stand outside a genuine karaoke bar in Kyoto, trying to persuade innocent locals to join you for a spirited, and heavily jetlagged, rendition of Bohemian Rhapsody. I can’t imagine where this example comes from.

The pandemic’s first wave saw a 55% increase in Google search traffic for Apple’s Garageband and a surge of 13 million downloads of added software by home musicians who already used it. One UK music retail disrupter, Gear4Music, reported an 80% rise in sales to £16 million in the first three months of lockdown, adding that the big-hit products were acoustic and electric guitars, digital pianos, home recording kit and podcast microphones. The curve then continued despite vaccinations: year-end April 2021 concluded with some staggering figures for Gear4Music. Revenues went up 31% year-on-year to £157.5 million and profits 488% to £12.6 million. Nor is this a strictly amateur phenomenon. The website EDMSource claims that the bedroom studio used by Finneas O’Connell to produce hit records for his sister, Billie Eilish, could be “reproduced for less than $3,000”. Even the world shortage of microchips, while it might affect high-end pro audio technology, “hasn’t touched” the home recording portfolio, according to my source within Yamaha. Somehow, this deluge has made mincemeat out of whatever border controls are supposed to exist across the EU in order to promote competition if it’s national and suppress it if it’s international. Over 50% of Gear4Music’s revenues are

generated by its Swedish and German distribution centres, and the company has revealed plans to open two more in Ireland and Spain. Remember, this is an English company based in Liverpool. Digital Village, which used to have a local store near me, is now part of a web-based enterprise called DV247-Music Store. In one click, you can choose your region from an A–Z of European countries, complete with instant translation of the main product highlights into the dominant languages: French, German, Spanish, Dutch, Italian, Polish, Russian and Portuguese. This appears to have no bearing on membership of the EU, former membership of the EU, pending membership of the EU or whether you think EU stands for Endotoxin Unit. The internet has won. One reason may be a breakthrough in customs agreements between the EU and the UK. Thomann, the original German scourge of high street retailers, is triumphant that it can now offer goods as priced on its website with no hidden VAT or courier charges – “final pricing” as they call it – making Europe a much more level playing field. It even extends to the company’s 30-day money back guarantee and three-year warranty. Honestly, it’s as if Brexit never happened.

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BUSINESS: COMPANY PROFILE

Exte

Go forth and heed L–R: Exterity’s Colin Farquhar, Carolyn Baillie and Mike Allan

The 2

Richard Lawn visits Exterity on Scotland’s Firth of Forth to find out about the company’s development and expansion over its 20-year history

A NUMBER OF TODAY’S ESTABLISHED AV BRANDS emerged after the dotcom bubble had burst, rising like a phoenix from the flames at the dawn of the new millennium. Out of that disruption, one of these fledglings, Exterity, has become a recognised leader in enterprise IPTV (Internet Protocol television) and digital signage solutions over the two decades that followed. But unlike the IP-addressable video systems Exterity is renowned for today, the company’s inception was far from lucid at the outset. Having worked for technology-based Shiva Communications in the late 1990s, product and marketing manager Colin Farquhar found himself between jobs with few prospects in Edinburgh. “With all the uncertainty going on in the world, I felt the time had arrived to set up my own business,” recalls Farquhar from his current Dalgety Bay headquarters on the north shore of Scotland’s Firth of Forth. His rounded experience to date covered general business sales, product marketing and technology from software engineering, but Farquhar lacked engineering expertise and practicalities. With a vision to combine networking with tech streams, Farquhar contacted his ex-Shiva colleague and engineering manager, Mike Allan. “When Colin called me up in 2001 to say he was thinking about starting up a company, he caught my interest,” confirms Allan. “Colin’s ideas to develop networking solutions as opposed to AV products resonated. We had already been made aware of the huge potential that AV distribution over networks could deliver having already conducted data and voice networking at Shiva.” After more discussion, the duo agreed to establish the business. Fortune favours the brave perhaps, as an opportunity through a friend provided them with free office space for the first six months. From this humble location, they steadily fleshed out their proof-of-concept ideas and recruited new personnel to share ideas and develop technology. “We originally perceived the

AvediaPlayer market to be in the B2C domain, but it didn’t take long before we recognised our future existed in the B2B marketplace,” continues Allan. “Fundamentally, it would require a lot of software and hardware development and a large sum of capital to set us off.” The technology to support the concept of multicasting highquality audio and video over a large bandwidth did not exist in the early 2000s. “Although low-quality video was available over the internet, the notion of transmitting hundreds of megabytes of video traffic through an organisation was an alien concept at the time,” recalls Allan. “Initially, our task was to educate the market and sell the concept rather than persuade IT departments that this was the future. It was an uphill push for several years convincing those operating in traditional coaxial distribution backgrounds.” Rising to the theme, Farquhar echoes the self-belief Exterity exuded at that time. “Timing is everything, as you can either be

a year too early or a year too late to market. Fortunately for us, we entered when the market was questioning the use of coaxial for video distribution by advocating the virtues of networks at a transitional point in time, so we were fitting into that space. It wasn’t luck on our part, but it wasn’t pure market analysis either. We were simply listening to the customer to better understand what pains they were facing, and addressing those developments.” Having given the project an initial six months timeline, Allan and Farquhar were pleasantly surprised that they were still in business 18 months later with some funding to take Exterity forward. The search for capital investment led Farquhar back to Shiva, together with some other angel investors. “At the outset we aspired to be like a US company that takes its ideas to a venture capitalist which provides you with US$10 million to go and own the marketplace,” says Farquhar with a smile. “However, we did it in a more Scottish way, over a two-year period with much smaller amounts of money. That got us to a point where we have been self-sustaining and profitable ever since.” Having committed Exterity’s product development to be networkcompatible and established a financial footing, albeit with limited funds, Exterity required a driven team of engineers to propel its fortunes. The company discovered a community of familiar technical individuals, including several ex-Shiva colleagues who were keen to join the reformed band such as software engineer, David P. “David had been forced to return to Glasgow from Boston following a company acquisition,” recalls Farquhar. “He offered to work for travel expenses as he knew we didn’t have the money to pay him. After six months, we could bring him on full time and he has been with us ever since. Following a relocation to Rosyth, we made some key hires, some of whom – like David – are still with us some 20 years later.”

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BUSINESS: COMPANY PROFILE

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decisions: namely, to develop our first-generation middleware layer that led to the ArtioGuest [now ArtioView] interactive IPTV platform. ArtioGuest’s fourth-generation drag-and-drop portal has put Exterity onto a different plane because of its range of facilities, ease of configuration and enhanced infotainment experience.” Having resisted the need to become just another digital signage producer, Exterity ultimately became a late entrant. “In our opinion, the market had been oversaturated for many years, and we opted instead to work with the manufacturers and provide the AV distribution for their platforms,” says Farquhar. “Our customers, however, created a demand for us to develop a signage product. With the launch of ArtioSign in 2016, we inadvertently upgraded signage at the time with an easy-to-use backend. It is now a pivotal part of our portfolio with many of our

with their large IT, marketing and business teams – all with unique sets of requirements – will severely test you. They want to bring in content and use it differently, with varying levels of authority on materials, and they want to track it tightly to make sure it is not exposed to anyone who should not see it. Each one of those requests requires a very bespoke solution configuration.” Just as Exterity’s business has been shaped by technological innovations based on customer feedback, the company has built its business across the globe. The export business has been vital to the Scottish innovator’s fortunes, accounting for 87.5% of Exterity’s sales today. Today, its global reach has been extended with offices in London, New York, Paris, Johannesburg, Dubai, Riyadh, Singapore and Sydney. While some of these successes were calculated and measured, others have been more random in nature. “When you display your wares globally with a website, you don’t know who is going to check you out,” explains Farquhar, referencing the extraordinary success enjoyed in the Middle East region. “This wasn’t a market we intentionally highlighted, but a number of SIs and distributors there identified our solutions on the internet and made enquiries to see if we could implement our products in their projects. We quickly understood the unique demands and opportunities in addition to identifying some key people, including a very good man, Asad Haque. Asad went on to become our agent and our first Middle East employee, setting up the Dubai office for us in 2008.”

The 2015 move to new Dalgety Bay premises provided the company with a spacious HQ As Allan moulded a compact and steadily growing team of technicians, Farquhar was tasked with forging the company ahead commercially. Generating sufficient revenue to sustain the team became an overriding objective for Farquhar. “You take in investment during several rounds of financial support to help navigate the business through the early stages such as proof-ofconcept, development, go-to-market and international expansion. At one point we were expecting to close a funding round in several weeks’ time, but the bank balance revealed there was only enough to pay one month’s wages. As a legal obligation, I drafted letters of redundancy to those staff that may be affected but, at the same time, communicated that we expected business as usual in six weeks’ time. The investment came through and everything was good, but it was a tough time.” Starting with little funding, every sale and customer became paramount. “We had to deliver added value to these customers and take less risks as we had to be more fiscally prudent,” states Farquhar. “In doing so, we built a sustainable business by funding ourselves and driving growth on the back of successful product sales.” The first two products were essentially an IP set-top box and an IP encoder that sold and worked well before Exterity made a pivotal change with the introduction of a gateway product that delivered a cost-per-channel advantage to the market. “Rather than fill up your rack space with 20 conventional set-top boxes that fed into encoders and out to the IP network, we had effectively scaled it down to one box measuring 1U in height,” explains Allan. “Having opened a new Canary Wharf facility in London, Reuters immediately understood its potential and enjoyed significant cost savings as a result. In addition to reducing the amount of space from numerous racks containing coaxial equipment to less than half a rack, the operational cost savings were significant.” At that point of the sale, the client relationship has clearly just begun. “Rather than just sell a product that works, we have always supported our clients through the product’s evolution by providing new features and capabilities as they become available,” continues Farquhar. “Our support programmes are designed to deliver value over the product’s life cycle to maintain an ROI.” The foresight to take content off RF and stream directly over IP turned out to be a masterstroke. “Colin and I always foresaw applications becoming increasingly pivotal in the design of our solutions,” explains Allan. “We took a couple of key engineering

customers demanding interactivity for personal content choice, messages to customers and staff.” The accommodation sector forms a significant and growing part of the Exterity business model. “Hotels require integration with POS systems and other services in the hotel, so we pour a lot of attention into developing solutions specifically for the hotel sector,” comments Allan. “ArtioGuest was developed with this sector firmly in mind. I take enormous satisfaction from the fact that all guests switch on their room displays at some point to gain access to video content, information and other services. The product we provide forms a central part of their operations which they depend upon without fail, 365 days per year.” Farquhar admits to enjoying interfacing with the hospitality sector. “Hotels are common applications and well-understood as every hotel has a guest room with a display system and a remote control. More challenging, perhaps, but corporate organisations

Hong Kong’s Alva Hotel with in-room Exterity iPad TV control

The 2018 Open Championship at Carnoustie Golf Links in Angus, Scotland

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BUSINESS: COMPANY PROFILE Exterity’s growth in the Middle East is reflective of the evolution of the regional market, where new developments across corporate and finance, education, healthcare, hospitality, transport hubs and venues have called for high-quality IP video systems. Having initially been geared towards the oil and gas sector, the manufacturer’s enterprise IP video and digital signage solutions have matured rapidly to support a wide range of airlines, airports, hoteliers, corporations and universities. “Demonstrating our commitment to the local market as a supplier, we now employ over 10 people in Dubai together with two in Saudi Arabia. Our local office demonstrates a full commitment on our part to our diverse mix of customers, from consultants to walk-ins.” While Farquhar pursued growth and development in the Middle East, Allan was drawn somewhat accidentally towards Australia: a country he freely admits he had no desire to visit but was forced to when a sales director was unable to travel. “From a business perspective, I found Australia a highly innovative country,” recalls Allan of that first 11,000-mile journey from Scotland. “The integrators and users were taking the latest technology and applying it in innovative and advanced ways not evident in the UK or Europe. In doing so, they were creating new demands that were not available on the market, so I found Australia a very dynamic and technology-driven marketplace, making it exciting to work there. Culturally similar to the West, Australia comes with the bonus of being highly capable and motivated to deliver successful solutions to customers.” Exterity’s foot in the Australian export door was initiated by a UK-based healthcare supplier which had provided a large solution for a healthcare project in New South Wales. “Exterity’s IPTV technology was included as part of the solution that was handled by Hills, which went on to become our distributor shortly afterwards,” continues Allan. “This gave us a strong foothold in the Australian market. However, we soon realised that we needed to directly employ dedicated personnel to further build the Exterity brand. The team of seven that joined us has been pivotal to our success down under and they regularly provide crucial feedback from their customers that our R&D can tap into.” Farquhar warms to the theme having listened closely to customers for two decades, maintaining that R&D continues to develop technologies several years into the future: “As we talk to customers, we detect very common needs and quite

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unique ones that require a bespoke solution. It’s a delicate balancing act for companies such as ourselves to negotiate but, ultimately, it’s our task to build a product that the customer needs. Not only is it vital to satisfy these requirements with the current technology in our possession, we must also extend our capabilities by adopting third-party interfacing to Building and Property Management Systems. There’s a balancing of trying to understand how technology is evolving over the long term with changing day-to-day customer requirements.” Despite only ever employing one dedicated hardware engineer, Exterity is often perceived as a hardware manufacturer. “Our software engineers were initially embedded hardware engineers writing the software to go on the hardware that we design in-house, such as media players and encoders,” explains Allan. “Most of the teamwork is on the applications including management tools such as smart control, site manager, videoon-demand streaming and recording capabilities, together with middleware such as ArtioView and ArtioSign digital signage. Over the years we have built a team with diverse engineering skills working in C, Embedded Linux and modern languages such as Java Script, Node, Angular and PHP to deliver varied customer solutions across the verticals.” Being based in Scotland holds many advantages, but hiring skilled technical engineers remains difficult in such a remote part of the UK. Six Porto-based technicians were recruited in 2018, bringing in fresh ideas and impetus to Exterity. Engineering director Richard Neville ensures that communications between the Portuguese and Scottish teams are not impeded by a language barrier or the 1,500-mile distance that separates them. After 20 years of pioneering growth, Exterity was strategically acquired in March 2021 by VITEC. The intention of the French developer to accelerate growth and strengthen its Colin Farquhar, Exterity CEO

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Exterity integrated IPTV and digital signage around the New England Institute of Technology campus

Aidanova cruise ship cabin with ArtioView portal

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BUSINESS: COMPANY PROFILE leadership position will be conducted through natural technology and customer synergies between the two companies. Exterity’s respected engineering excellence, global geographic distribution and complementary business focus were cited as prime factors in the sale. The vision is for the combined entity to become the leading IPTV and digital signage provider for corporate, government, military, venues, hospitality and broadcast sectors. While Farquhar remains a central part of the leadership team of the combined company, Allan opted to call time on his distinguished career in late September 2021. “I met VITEC in Paris following ISE 2020 prior to the first lockdown, so we have gone through the whole acquisition during the pandemic,” explains Farquhar. “VITEC’s product portfolio, market strength and company culture are the perfect fit for this next chapter in our IPTV growth, and I have complete confidence that we will be able to grow stronger together as more and more businesses deploy IP video streaming solutions across their enterprises. Bringing together VITEC and Exterity enables us to take advantage of our combined technologies so that our customers will have a broader choice of market-leading IP video solutions to suit their needs.” The combined engineering teams are currently migrating the existing IPTV and digital signage portfolio onto a converged platform. “Now we have a better understanding of the technology sets both companies possess, we can better support our customers and take advantage of enlarged engineering teams working across the organisation,” he continues. “This significantly increases the resources we have available to develop and innovate technologies for our customers in the future. For

example, VITEC possesses key technologies in codecs and around low latency, encoding and distribution.” According to Allan, latency continues to be a challenge for the AV industry. “With our envelopment into VITEC, this has been a massive gain for Exterity as VITEC is a core codec IP development company among other things. Being allowed to access that sub60ms encoding capability significantly strengthens our position. Depending on the nature of the content, it is an unnecessary constraint to place upon yourself and there are customers that absolutely need that end-to-end lower latency networking, including corporate clients and sports stadia. By taking 100ms off what we could previously deliver, the video stream is closer to real time than ever before. Working within VITEC opens interesting areas of opportunity. For example, we can now add value for our customers operating in large enterprises with the provision of the VITEC Media Asset platform.”

Philippe Wetzel, founder and CEO of VITEC, which acquired Exterity in March 2021

Colin Farquhar receiving the Queen’s Award for Enterprise in 2020 from the Lord Lieutenant of Fife As Allan commences his retirement, a new chapter unfolds for Farquhar. “When Mike and I established the company 20 years ago, there was a vague notion of building up a business quickly to sell on for a massive profit and repeat,” he reflects. “That was the norm in the dotcom world of affiliated technology. Following the first two years of hardship however, we realised it would not be a big flip. Fortunately, it has provided us with much greater satisfaction by building a self-sustaining business that provides our loyal customers with long-term value. Providing solutions for corporations such as Reuters is wonderful, but enriching individuals’ lives on cruise ships, in hotels and in hospitals means the most to me.” The Exterity brand may now be shrouded behind the VITEC cloak, but the identity remains unchanged. Never ones to display extrovert or extravagant characteristics, founders Allan and Farquhar have now come full circle since furthering their interest in speculative technologies. Exterity’s IPTV system streams live TV and LFC TV to 600 screens around the Liverpool FC stadium, including in the bar

www.vitec.com

Daniel drives and supports your customers. He understands sales, distribution and your solutions.

Behind every great business is a Daniel.

Daniel understands industry technologies and their application. He cultivates strong relationships to develop your business. Interfacio connects professionals with world-leading pro AVL brands.

China Sales Manager

Touring, recording and installed sound.

Contact: bardy@interfacio.com www.interfacio.com Int: +44 208 986 5002 USA: 1-800 578 0144 @interfacio

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BUSINESS: TECHNOLOGY

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The remotest idea Caroline Moss talks to Paul Van Hees, managing director of Belgian manufacturer Apex, about the company’s new Class-D CloudPower amplifiers which can be controlled remotely So Paul, what’s so unique about the technology behind Apex’s new CloudPower amplifiers? When we first sat down with a blank sheet of paper to brainstorm a new installation amplifier, we knew we needed to offer real, tangible benefits and innovations. Integrators don’t just switch from their tried-and-true solutions on a whim; you need to give them compelling reasons to check out something new. The most obvious difference with CloudPower is the ability to monitor and control the amplifiers remotely from a web browser. This means that you can keep an eye on your clients’ systems remotely, and when those clients need common changes like tweaking channel assignments, these can be done really easily without the integrator needing to set foot onsite. The

The Apex SMA-2 OEM amp module

team did an amazing job with the IntelliCloud WebUI used to control CloudPower remotely. Maybe I’m an impatient person, but I hate over-elaborate user interfaces, so it’s important to me that IntelliCloud is super simple to navigate and use. Another feature that hasn’t been seen before on a product of this kind is the ability to stream audio direct to the amplifier from a device running Spotify or iTunes. As well as cutting out one more piece of hardware, this facility opens up some interesting bring-your-own-device applications. A less visible difference with CloudPower is the way that the R&D team integrated the DSP and amplifier circuits to achieve incredible audio performance and higher perceived volume. From the first listening tests we knew we had achieved something special with the audio quality, and that was confirmed when we invited our “golden-eared” audio engineer friends to try the amplifiers. It’s very hard to meaningfully describe audio quality in words, but hopefully many more people will get the chance to hear and experience CloudPower for themselves in 2022. I won’t get deep into cone excursion and AC coupling here, but if anyone wants to know all the secrets, there’s a great white paper on our website that tells the full story.

I understand that most of the project development happened during the pandemic, right after an early prototype was shown at ISE 2020 before everything shut down. Can you talk us through that experience, such as how the team

Apex managing director, Paul Van Hees

collaborated and how the product was developed and tested? We came back from the ISE show in Amsterdam two years ago full of excitement and enthusiasm. We had just shown an early CloudPower prototype to some integrators and distributors at the show and we were blown away by their feedback. Almost everyone we spoke to said: “this is exactly what we need, when can we order it?” Of course, this was February 2020 and there was already a lot of concern about coronavirus, but I don’t think anybody was ready for the impact it would have on the world. In a way we’re fortunate that Apex is still a relatively small, tight-knit team, so even at those points where we were not able to all be in the office together, we were still able to keep the development process rolling. Probably the biggest challenge was needing to change microchips quite late in the development process. It’s a problem that most AV manufacturers have run into during the pandemic – it has been much harder to get the chips

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BUSINESS: TECHNOLOGY you need, when you need them, especially when you’re competing for the same chips as massive consumer product brands. It was a very tough decision to rework months of R&D development to integrate a new chipset that we can reliably get hold of, but it was the price we had to pay to create a robust supply chain. From April, all four CloudPower models – the CP354 and CP704 installation amps and CP1504 and CP3004 installation/touring amps – will be in stock and available to order. We’re very proud of CloudPower and we are naturally keen to get out there and demonstrate it to distributors and integrators. We have an amplifier that sounds amazing, so we want people to hear it! With the restrictions on travel and the choppy fortunes of the major tradeshows, it has been challenging to get in a room with clients and show them what the product can do. We are lucky that CloudPower can be controlled remotely, so we can allow a potential partner in, say, Indonesia to control an amplifier that is sat in a rack in Belgium. I cannot wait to get back out to visit territories where I know we’ll have a great opportunity with CloudPower.

Are you planning any changes to your distribution network and partnerships in APAC and MEA to handle the new products in those regions?

Why is this such a significant step for Apex, and can you explain the importance of manufacturing in-house?

Apex is also known for its OEM work with third-party manufacturers; can you tell us more about this?

CloudPower is a breakthrough product for us, particularly in the installed AV market. Apex has always been a wellrespected brand with a reputation for high-quality products, but we now have the investment and the product roadmap to take the company to the next level. We’ve shown that we have the R&D expertise, creativity and agility to deliver genuinely new and exciting products. For me, manufacturing is an integral part of who we are at Apex. Maybe it’s control freakery, but I want to know that every Apex product has been assembled, tested and shipped by someone who takes pride in the quality of what we do. The interplay between R&D and manufacturing also brings

With the excitement around CloudPower and the gradual relaxation of travel restrictions, we see growing our distribution in APAC as a big opportunity for Apex in 2022. We recently appointed Orpheus Acoustics in Taiwan and we’re confident that this will be the first of many new relationships in Asia Pacific. In MEA, we are now working with Alain Boone from Audires to help us develop our distribution partnerships. Alain is incredibly well-known and respected in audio circles across MEA, so we hope to announce further distribution partnerships in the near future. We are not in a rush; as we have done in Europe, we want to find partners with the expertise and contacts to switch integrators onto CloudPower, and with support capacity to take care of our customers in the long run.

L–R: Apex MD, Paul Van Hees and technical director, Hendrik-Jan Gielis benefits in terms of the quick turnaround of prototypes and the ability to identify and correct issues before they become a problem. From a broader perspective, I see Apex as part of a vibrant community of Belgian professional audio and AV brands. There is such an amazing pool of talented people in this country, whether that’s manufacturers, integrators or sound engineers, and I want Apex to play its part in supporting and growing that talent.

I won’t name names, but yes, we do supply amplifier modules to loudspeaker brands. We give manufacturers a way of bringing new products to market quickly and without all the risks of embarking on their own R&D from scratch. It’s an area where we’ve seen a lot of interest in recent months. I think that’s partly because there are remarkably few companies offering high-quality amp modules, and it’s hard for loudspeaker companies to achieve the competitive edge they’re looking for if they are using the same components as everyone else. www.apex-audio.be

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MAKING VIRTUAL PRODUCTION A REALITY Defining the standard for LED-on-Camera applications Frame Remapping

ShutterSync®

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www.bromptontech.com | info@bromptontech.com | +44 (0)20 7471 9444

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PROFESSIONAL

PANARAY MSA12X DIGITAL BEAM-STEERING LOUDSPEAKER BOLD SOUND. HIDDEN IN PLAIN SIGHT. Whether it’s an auditorium, place of worship, lecture hall, or museum, sound is a critical part of the experience. Because the right audio solution can bring a space together — and enhance an experience — like nothing else. But loudspeakers often get in the way visually and lack the features and flexibility to fully support these kinds of spaces. Panaray loudspeakers from Bose Professional are the answer. They offer a slim, attractive design and deliver a bold audio experience: full-range sound, outstanding vocal intelligibility, and agile coverage control to conquer even the most acoustically challenging spaces.

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NEWPRODUCTS

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

Allen & Heath expands AHM The AHM-16 and AHM-32 provide simplicity of programming and control, plus expandable audio networking and I/O capabilities HARNESSING THE same technology as the AHM-64, Allen & Heath has released two new audio matrix processors that allow the company to cater to the full spectrum of installed audio environments. Placing an emphasis on simplistic programming and control, the AHM-16 and AHM-32 offer 16x16 and 32x32 matrix processing capabilities respectively, with 8x8 local analogue I/O on the AHM-16 and 12x12 local I/O on the AHM-32. Both units feature an I/O port for up to 128x128 audio networking, as well as the option to integrate a 96kHz Dante option card. In addition to remote controllers, GPIO

and third-party integration, the AHM-16 has a front panel screen with programmable SoftKeys for volume control, source select and preset recall, while the AHM-32 adds an additional four Softkeys. All three AHM series processors deploy next-generation FPGA technology and 96kHz sample rate with sub-millisecond latency to installations. The audio engines’ processing capabilities include an eight-band PEQ, gate, compressor and delay on all input channels, and eight-band PEQ, 30-band GEQ, compressor, active noise cancellation, source selector, limiter and delay on all zone outputs.

Kling & Freitag shines with a brighter beam for VIDA KLING & FREITAG has updated its VIDA beam-steering technology with a J-Beam update. In addition to the selection of the opening angle and the inclination of the beam, VIDA supplements J-Beam technology with an additional controller for setting the energy distribution within the beam itself. As a result, the level curve can

be continuously adjusted from front to back to achieve speech intelligibility and evenly dispersed audio with virtually the same level. The new technology is available for download for all existing VIDA L systems from firmware 1.5. www.kling-freitag.com

SLink, which is natively built into the AHM-64 but appears as an additional option card for the AHM-16 and AHM-32, allows plug-and-play connection to up to eight remote expanders from the manufacturer’s Everything I/O range, which includes wallmount, rack and portable options. www.allen-heath.com

Absen Clear Cobalt 94 ADJ Mirage Q6 PAK 100 Allen & Heath AHM-16/AHM-32 79 Analog Way LivePremier update 98 APG iS Series/UC118i 82 89 Atlona AT-OCS-900N 93 Audio Precision APx500 version 7.0 Audix A231 84 Austrian Audio Hi-X60 85 101 Ayrton Huracán LT Barco F400-HR 99 Blackmagic Design URSA Broadcast 2 97 82 Blaze Audio PowerZone Broadcast Pix MX Hybrid 99 101 Chauvet Professional onAir IP series Cloud Electronics DLM-1 85 CODA Audio LINUS12C 80 86 Contacta Systems STS K009-IP Crest Audio Tactus.Control update 88 92 Crestron DM-NVX-E10/DM-NVX-D10 d&b audiotechnik Soundscape Simulation update 93 Datapath Aetria update 96 86 Dejero EnGo 265 DirectOut EXBOX.SG/SG.IO 92 Elation Proteus Rayzor Edge 100 ETC F-Drive B-Box 100 Extron SF 8CT SUB/ISS 612 81 Focusrite/SSL System T control of RedNet MP8R 85 Fulcrum Acoustic DF4 81 GLP impression X5 IP Bar 101 Hall Technologies HSM-44-UHD 98 HK Audio Linear 9 80 Hollyland Technology Solidcom M1 86 Imagine Communications Selenio update 94 80 JBL EON700 Key Digital Conference Room in a Box 95 79 Kling & Freitag VIDA J-Beam update 90 Klotz AIS M4 StarQuad/DMX looms Lawo diamond 88 93 Lectrosonics Wireless Designer update LG UltraFine OLED Pro 94 97 LynTec LCP Series 92 Meyer Sound Spacemap Go update Milab Microphones VIP-60 84 96 Modulo Pi Modulo Kinetic update 84 Neumann.Berlin Miniature Clip Mic System Neutrik Fiberfox 86 NewTek TriCaster 1 Pro 98 NEXT Audiocom Maverick MV6 80 Outline GSR 85 Pan Acoustics P 04-AMT 80 Presicion Devices PD.1845-1N 82 QSC NC Series/TSC Series 98 81 RCF CMR 50T/CMR 60T/WMR 50T/WMR 60T RF Venue Performance Calculator 93 Robe T11 101 Røde Lavalier II/VideoMic GO II 84 Ross Video X-Series 96 Sennheiser Camera tracking solution 89 Shure MXCW update 89 Solid State Logic BiG SiX 87 Sommer Cable SC-Elephant Robust DMX 90 Sony Venice 2 97 Sound Devices +4 Plugin for 833 92 82 Tascam Portacapture X8/DA-6400 version 3.0 TSL Products TSL Control update 88 Voice-Acoustic Venia-6/Venia-8 81 92 Waves SSL EV2 Channel plugin Wohler iAM-AUDIO-1 PLUS/iAM-AUDIO-2 PLUS 86 WyreStorm NHD-600-TRX/8K HDMI cables 90

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HK Audio JBL shines a advances with light on EON700 Linear 9 THE EVOLUTION in the Linear loudspeaker series has been revealed by HK Audio. Comprising three point source speakers and two high-profile subwoofers, the Linear 9 birch multiplex enclosures integrate customised acoustic transformers and horns, Class-D power amplifiers, digital controllers, powerCON adaptors and advanced networking capabilities.

ORIGINALLY LAUNCHED in 1995, JBL Professional’s EON family of powered, portable loudspeakers continues to evolve. Consisting of four models, the EON700 Series has been designed for musicians, venues and event organisers as mains or stage monitors in portable systems or permanent installations. Comprising the 10-inch EON710, 12-inch EON712 and 15-inch EON715 powered PA speakers together with an 18-inch EON718S subwoofer, the latest additions are powered by internal Class-D amplification. The DSP package provides comprehensive control over EQ, limiters, delay, a three-channel mixer featuring dbx Automatic Feedback Suppression (AFS), eight-band output EQ and optimised use-case presets. Speaker management parameters can be configured

F a configurations and rear suspension points serve as connections for fixed installations. Indexed feet moulded into the enclosures enable a range of acoustic configurations and secure stacking. The EON718S subwoofers incorporate a threaded pole mount for adding full-range speakers, but can also be stacked for cardioid configurations. Integrating ergonomic handles, the full-range speakers are housed in FEA composite enclosures, while the subwoofers are manufactured in 15-ply birch cabinets.

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www.jblpro.com

The EON700 family from the rear backlit colour LCD screen or via the JBL Pro Connect app. Built-in Bluetooth 5.0 audio streaming and control extend the latest protocol’s security features, low-latency, broad range and audio fidelity characteristics. The latest generation waveguide and transducer technologies are included with the redesigned woofers together with a horn-coupled 2414H compression driver that delivers a smooth offaxis beamwidth and balanced response. Like their predecessors, the EON700 models are designed to be employed as main speakers or floor monitors. Full-range models feature top and rear suspension points for flown

Maverick stands out from the pack

Linear 9 210 LTA The flagship 210 LTA model is a fully integrated and scalable constant curvature point source speaker with long-throw abilities. Based on HK Audio’s transformer design, the Multicell Transformer provides a rotatable 60° x 25° dispersion above 1,350Hz. Designed for long-throw applications or as a horizontal cluster in large venues, the dual 10-inch 210 LTA operates within a frequency spectrum of 88Hz–19kHz (±3dB). The 110 XA 10-inch and 112 XA 12-inch models are equipped with a Multicell Transformer that provides rotatable 80° x 60° and 70° x 50° dispersions respectively. The compact, multifunctional cabinets can be applied as low-profile stage monitors, as a small FOH solution on a tripod, as front fills, flown in a rig or as mid/high units in combination with subwoofers. A catalogue of remote-control functions including grouping, volume control, 10-band EQ, limiter, delay and full networkability (controller software available for macOS and Windows) are included in the DSP controller. The DSPOUT is an exclusive feature enabling loudspeakers without built-in controllers to be fully integrated into a Linear 9 network. Low-frequency extension is provided by the direct radiating 118 Sub A and 118 Sub BA, which features a band-pass design for an extended bass range and a higher SPL. Capable of extending the LF response to 42Hz and 38Hz respectively, the 18-inch subwoofers are tuned to be used together and can operate in cardioid mode. www.hkaudio.com

NEXT AUDIOCOM has developed the Maverick MV6 loudspeaker. Suited for a wide variety of indoor and outdoor applications with recorded or live music, the MV6 is a compact, coaxial, 6.5-inch, battery-powered loudspeaker. Housed in an ABS enclosure, the model weighs 7.2kg and measures 258mm x 342mm x 283mm. Incorporating FIR filters, the MV6 has an optimised sound response with linearised phase response. The extensive rear control panel includes a three-channel mixer providing Bluetooth 5.0 connectivity, microphone, instrument, USB and aux

audio signal inputs. A tone optimiser is also included for automatically EQ’ing a microphone/guitar. With the True Wireless Stereo (TWS) function, a wireless stereo system is created by simultaneously pairing two MV6 speakers via Bluetooth up to 10m in distance. The battery can be fully recharged within five hours and provides up to 11 hours of music playback, although the MV6 can also be used as a power bank if needed. www.nextaudiocom.com

Pan Acoustics hosts meetings CODA Audio extends LINUS and conferences WITH THE adoption of Pan Speaker and Pan AMT series loudspeakers, Pan Acoustics has created a conferencing and meeting space solution. Selected

models from these series can be customised to match the size of the room display. Incorporating an Air Motion Transformer (AMT), the P 04-AMT models combine minimal audio distortion with desired high-frequency

reproduction. Created for low-frequency extension down to 30Hz, the Design P SW-108 RJ is a passive, directradiating 8-inch subwoofer for 2.1 sound systems. Capable of producing a maximum SPL of 109dB and offering an impedance of 4Ω, the subwoofer can be powered by small PoE conferencing amplifiers. With the development of the RJ speaker input option, the German manufacturer has designed a tool-less cabling connection by making standard Cat formats into speaker cables. Loudspeaker models incorporating the RJ option can be directly connected via RJ45 to compatible PoE amplifiers or the available adapters of standard amplifiers. Promoting a structured IT cable infrastructure, the RJ feature is available for the P 02-Pi (RJ) and P 04-AMT (RJ) two-way models in addition to the P 04-Pi (RJ) line source enclosure within conference spaces and other installations. The P-SW 108 subwoofer comes equipped with the RJ option as standard.

DESIGNED TO control and maximise the performance of all CODA Audio loudspeakers, the LINUS platform of network amplifiers provides intelligent processing and monitoring. With the availability of the LINUS12C, CODA Audio has added a four-channel model capable of delivering four channels of 3,000W power at 4Ω. Based on Class-D-IC output stage topology, the LINUS Core SHARC floating point 96kHz DSP includes factory presets that utilise advanced proprietary DS-FIR and IIR filtering techniques in addition to frequency-dependant limiters. Selectable from analogue or LiNET digital audio, the four inputs can be routed and distributed to any of the four outputs via the input matrix over a shielded Cat-5e cable before being buffered and transmitted to the next unit via the LiNET link output for daisy chaining. The signal routing inside the LINUS12C can be tuned and configured manually from the front panel push buttons. Alternatively, macOS and Windows-based tablets and interfaces can adopt the LINUS Control GUI for remote management over Ethernet. Housed in a 2U chassis and weighing 14.7kg, the LINUS12C is the fifth model in the series to date.

www.pan-acoustics.de www.codaaudio.com

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Fulcrum Acoustic sounds another horn DESIGNED TO supplement highfrequency coverage in areas shaded by obstructions, Fulcrum Acoustic has created a spot fill loudspeaker. The DF4 dual high-frequency horn comprises twin 4-inch diaphragm HF compression drivers that can deliver up to 140dB (continuous) maximum SPL output for long-throw applications. Providing clarity and precise transient response at high SPLs, the US manufacturer’s proprietary TQ processing has been added. Operating within a 320Hz–20kHz frequency range, the DF4 is available in DF443 (45° x 30°) and DF463 (60° x 30°) variations. www.fulcrum-acoustic.com

Extron adds another option for in-ceiling subs EXTRON HAS released a new in-ceiling subwoofer designed to blend in with other ceiling speakers in the system. The plenumrated SoundField SF 8CT SUB comprises an 8-inch low-frequency driver, while low- and high-impedance taps and an integrated lowpass filter provide flexibility to meet a wide variety of system requirements. With a frequency range of 45–300Hz, the subwoofer is capable of 100W continuous pink noise output. For distributed systems, the SF 8CT SUB has an integrated 70V/100V transformer, allowing placement of multiple subwoofers within a space to provide even coverage from a single amplifier. Power taps at 64W, 32W, 16W and 8W enable the

at resolutions up to 4K/60. It supports a maximum data rate of 18Gbps and features advanced Extron Vector 4K scaling technology. Separate Preview and Program outputs enable the operator to review sources before switching them to the viewing audience. For streamlined integration, the switcher provides audio de-embedding and multiple control options, including an intuitive front panel, RS-232 and Ethernet. This switcher has everything included with the ISS 608 plus four 12G-SDI inputs, mirrored 12G-SDI outputs and a buffered 12G-SDI genlock input with loop-through, making it suitable for live event and small broadcast installations.

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SF 8CT SUB speaker to be placed in low-ceiling rooms without being overpowering, or in low SPL applications where low frequencies require additional reinforcement to achieve equal loudness across the spectrum. For installations where more power is required, the SF 8CT SUB can be connected in 8Ω direct mode for up to 200W continuous programme power handling capability. A selectable 120Hz, 6dB peroctave low-pass filter is included to simplify setup without the need for additional crossovers. The US manufacturer has also released the ISS 612, a 12-input seamless switcher for the dynamic presentation and scaling of HDMI, DisplayPort and 12G-SDI content

To enhance the delivery of any presentation, multiple switching and transition effects are available with the ISS 612, such as wipes with selectable direction and duration and a seamless cut that eliminates distracting jumps, glitches and delays for true seamless source switching. Picture-in-picture mode facilitates insertion of a secondary source window that can be dynamically sized and positioned anywhere within the output. A company logo or other custom graphic can be stored and instantly recalled. Also, a wide variety of keying options enable the operator to overlay live content, such as video or scrolling text. www.extron.com

Venia set to grace venues CONSISTING OF two full-range models, Voice-Acoustic has created a compact column loudspeaker series called Venia. Comprising four 6.5-inch woofers and three 1-inch HF drivers, the passive Venia-6 distinguishes itself from the biamped, highperformance Venia-8 which integrates four 8-inch LF and four 1-inch HF drivers. The HF drivers are married to a vertical waveguide and large-format horn to create a 100° x 0°/–20° (HxV) dispersion output and vertically asymmetrical SPL coverage with a plane wavefront. The German producer insists that the HF energy is bundled to cover longer distances, while the near fill is covered by curving with lower-energy content distributed to a larger area, resulting in balanced distribution levels across the entire listening area. Capable of producing a maximum SPL output of 140dB and weighing 35kg, both models are available as self-powered versions named Venia-6DDA and Venia-8DDA. The rear panel includes signal analogue inputs and outputs, Dante, AES/EBU, AES67 and a network switch for integration with the Voice-Acoustic remote-control software. With the X-Tension design stand, Venia

can also be applied in portable and mobile applications. www.voice-acoustic.de

Venia-6

RCF fixes its sights on walls and ceilings COMBINING AESTHETIC discretion and audio accuracy, RCF has extended the CMR series with the 50T and 60T two-way, in-ceiling speakers. Loaded with 5- and 6.5-inch transducers in a coaxial configuration, both speakers operate within a 70/80Hz–20kHz frequency range to output a maximum SPL of 110dB and 114dB respectively. Both multipurpose models exhibit a constant directivity conical coverage of 130°. Three long travel clamps and a dedicated connection board inside the wall mount allow the installer to set the desired tilt first, then fix the speaker and finally quickly connect it without the need for any tooling. In addition, a magnetic grille can be easily removed to provide access to the power selector on the front shell, with the line transformer providing 40W and 80W full power on a 70V and 100V constant voltage line, in addition to five different power levels. Enclosed within a self-extinguishing plastic body and metal back can, a pole Euroblock connector receives audio inputs and a parallel link output. Similarly, two wall-mounted speakers have been added to the WMR catalogue. Incorporating a 5-inch woofer and 1-inch neodymium tweeter, the WMR 50T provides consistent music reproduction across the 80Hz–20kHz frequency

CMR 60T band. Rated at 40W RMS power handling, the compact enclosure provides a consistent dispersion of 140° x 100° directivity. A dedicated connection board is included inside the wall mount support, which allows the installer to set the desired tilt before fixing the speaker and connecting it without any tooling. Integrating a 6.5-inch woofer, the 80W-rated WMR 60T model operates within a 70Hz–20kHz frequency range and can produce a maximum SPL of 114dB. Like the ceiling speakers, both wall-mounted speakers are housed in a self-extinguishing plastic body and metal back can and are equipped with a pole Euroblock connector. www.rcf.it

WMR 50T

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APG debuts iS Series subwoofers UNVEILED IN UNISON WITH A REFRESHED brand identity, APG has unveiled a series of three subwoofers to replace the existing SB series. Designed to provide a wider bandwidth in modern music, the compact iS series is being targeted at the rental and fixed-installation markets. The series comprises a trio of bass-reflex models with either a 10-inch ferrite (iS110), 12-inch ferrite (iS115) or 15-inch neodymium (iS115) driver. The smallest model, the 10-inch iS110, is capable of low-frequency extension down to 45Hz and a 135dB SPL, while the largest 15-inch iS115 boosts these to 42Hz and

138dB. From smallest to largest, continuous power ratings for the models are AES 500W, AES 800W and AES 900W respectively. Connections includes a pair of speakON NL4MPs. The range also features a number of functional insert points and accessories for wall mounting (iS110), overhead mounting (iS112 and iS115) and coupling, with the iX range of loudspeakers using crossbars to create modular and easily movable sound systems. Thanks to its optional mounting system, the iS115 subwoofer can be coupled with the iX12 loudspeaker, allowing the creation of compact clusters ideal for nightclubs and small-to-medium concert venues.

Precision Devices reveals next-gen Bass DESIGNED PRIMARILY for compact reflex and horn-loaded enclosure designs, Precision Devices has unveiled the PD.1845-1N low-frequency subwoofer. The vented cast-aluminium chassis and forcedair cooled, long-throw motor system houses a neodymium magnet and a 37mm-long, 4.5-inch-diameter, four-layer, copper-clad aluminium voice coil. Effective thermal management in the motor system and voice coil gap is said to decrease lost heat energy. Weighing 10.9kg, the 18-inch subwoofer exhibits 98.8dB sensitivity (1W/1m) across a 30Hz–1kHz frequency spectrum with a rated power handling of 1,500W (AES). An optimised double silicone suspension system and triple-roll surround combine to provide 16mm Xmax and cone control at high excursion,

along with an aluminium demodulation ring to reduce inductance and provide low distortion. www.precision-devices.com

Blaze of digitally powered glory FOUNDED AS a separate brand within Pascal A/S, Blaze Audio specialises in producing digital amplification solutions for the commercial audio market. With the creation of the first generation of PowerZone amplifiers, the Danish company has created a series of compact, configurable amplifiers for the fixed installation market. Any output channel of the three multichannel amplifiers can be independently configured to drive both conventional low-impedance (4–16Ω) and constant-voltage (70V/100V) loudspeaker loads. With automatic power sharing, the PowerZone models can also share the total available power across all the channels. Measuring half a rack in width, 1U in height

and weighing 1.9kg, the PowerZone 252 amplifier outputs 2x 125W. Housed in the same chassis, the PowerZone 504 and 1004 amplifiers are 4x 125W and 4x 500W amplifiers respectively. Simplified front control includes power and channel LEDs and channel gain adjustment knobs, whereas the rear panel interfaces mains power and GPIO connections, DIP switches and channel I/Os. PowerZone Connect provides amplifier setup and configuration from a phone, tablet or laptop. By accessing the full matrix DSP suite embedded within the amplifier, the PowerZone Control software allows all input, output and multizone management to be configured from the smart web app. www.blaze-audio.com

iS Series To complement the iS range, the French manufacturer has also launched the UC118i, a new high-powered subwoofer addition to the Uniline series. Equipped with an 18-inch bandpass-loaded loudspeaker, this subwoofer complements the Uniline Compact range as well as the iX12 and iX15 models to provide

a physiological bass effect. The UC118i also features a new APG EasyLink docking system that allows for easy clustering of up to three loudspeakers in either omnidirectional or cardioid configurations. www.apg.audio

Tascam excites portable recordists with X8 DESIGNED FOR numerous applications including podcasts, music capture, voice capture for interviews and vlogs together with field recording, Tascam is shipping its latest portable multitrack recorder. The Portacapture X8 features 192kHz/32-bit float point recording technology, a 3.5-inch colour touchscreen display, large-format internal detachable mics, six setup modes each with instant optimised settings and an internal eight-track recording facility. The high-resolution adaptive multirecorder uses an app-like set of configurations that optimise the

line-level, multi-function aux-in, line out and camera in/out terminals. A 3.5mm camera ext/in connector also supports wireless audio input and the camera/line output includes an attenuation function for sending audio to external devices. Together with its multitrack record capability of six tracks plus two mix and its eight-in/two-out USB Type C audio interface with support for USB bus power, the Portacapture X8 can operate as a handheld recorder both on its own or with a computer. Audio monitoring can Portacapture X8

DA-6400dp unit for various recording tasks. The Portacapture X8 includes two 14.6mmdiameter built-in condenser microphones with HDDA mic preamps. For setting the available AB and XY microphone patterns, the Portacapture X8 offers a detachable mechanism for configuration. Flexibility is enhanced with optional accessories from the AK-DR series, including an adapter for DSLR camera attachment, audio routing cables and a power supply. In-built DSP functionality includes a compressor, limiter, low-cut filter, noise gate, reverb and auto gain control. The Tascam Portacapture Control app also extends wireless remote control via mobile devices, such as smartphones and tablets, in addition to using the optional AK-BT1 Bluetooth dongle. In/out choices for multiple recording scenarios come in the form of four XLR and ¼-inch inputs with support for both mic and

be conducted from the unit’s headphone output or built-in speaker and supported recording media includes micro-SD, micro SDHC and micro SDXC cards up to 512GB capacity. The feature set of the DA-6400 digital multitrack recorder and player has been enhanced with a version 3.0 software update. Improvements include a more intuitive interface, an ABS Time Mode display and smooth switching to the playlist entry edit screen via an external keyboard. Nine new functions extend the multi-playback audio features, including shorter production time of content production. Providing a quick view, the addition of contrast support for the display time counter improves visibility of take names in the home screen. www.tascam.com

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mc 36 2

ALL-IN-ONE

AUDIO PRODUCTION

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www.lawo.com

PRODUCTS

Milab extends VIP credentials FEATURING A rectangular capsule and optimised circuitry, Milab has introduced the VIP-60 to bring the sound of the classic 1980’s VIP-50 up to date. The VIP-60 multipattern condenser microphone resulted from an extensive R&D programme which included an 18-month testing period and collaboration with many respected European and US engineers. Technically superior to its predecessor, the VIP-60 exhibits a significant reduction in self noise without compromising the characteristic Milab sound that made the VIP-50 a commercial success. The VIP-60 offers five different polar patterns and a selection of roll-off filters and pads. Shipped from Milab’s plant in southern Sweden, the hand-built VIP-60 comes with a waterproof SKB 3i case together with a Rycote USM shockmount and an individual frequency chart. www.milabmic.com

RØDE fashions compact wearable mic RØDE HAS added to its range of wearable microphones. The Lavalier II is described as a compact premium lavalier mic that boasts a low-profile design, professional sound quality and several other professional features. It’s intended for use on everything from broadcast applications and filmmaking to all kinds of content creation. The Australian manufacturer has been able to create a new low-profile design thanks to the microphone’s capsule technology, making it discreet and easier to hide on talent. It also features an ultracompact mounting clip and a flat cable that is unobtrusive, aiding with threading through clothing. It can be paired with a wide variety of audio devices, including the manufacturer’s Wireless GO II and newly released AI-Micro, and features a 3.5mm locking connector for use with professional wireless microphone systems.

Lavalier II

Audix adds character for vocalists HOSTING THE same goldplated brass band as the SCX25A instrument mic, Audix has added a large diaphragm microphone to its selection of vocal condensers. The A231 features a precisiontensioned diaphragm with gold deposition all the way to its far edges to significantly enhance the audio quality. An active-driven shield protects the signal path from interference or capacitive coupling and an internal shockmount virtually eliminates touch noise, promoting the A231 to be used across a wide variety of applications without the need for an external shockmount. The A231 capsule is suspended by the bespoke internal shockmount behind a double-woven steel alloy mesh grille and seated in a precision-machined aluminium body. The compact mechanical form factor allows the A231 to be positioned in tight spaces where larger microphones may be considered too obtrusive. When used on

vocals, for voiceovers or spoken word, the US-based manufacturer claims that the A231 offers a rich tone that blends “low-end power and high-end detail with a warm but controllable proximity effect and a high end that is crystal-clear, yet free of artefacts”. The cardioid polar pattern provides smooth off-axis response over a 128dB dynamic range, making the A231 a suitable model for capturing acoustic instruments. With a 140dB maximum SPL, the condenser can handle a kick drum, while the low 12dBA equivalent noise level permits its use on delicate sources including upright bass and strings. With no high-end harshness to mar the sound of cymbals, the A231 can be positioned on drum overheads and used for spot miking. www.audixusa.com

Neumann.Berlin enters close miking market VideoMic GO II The Lavalier II also comes with a premium accessory kit that includes a high-quality pop filter and mini furry windshield for recording outdoors, a compact mounting clip (which includes cable management slots), a set of coloured identification rings for keeping track of microphones in multimic setups and a zip case for keeping the Lavalier II and accessories organised. First introduced with the VideoMic NTG and NTG5 shotgun microphones, the VideoMic GO II from RØDE is a compact on-camera microphone. Designed to provide a fullbodied sound, the portable, 89g all-metal casing incorporates a 3.5mm TRS output for use with cameras and USB-C output for use with smartphones, tablets and computers. Compatible with RØDE apps – RØDE Connect, RØDE Central and RØDE Reporter – for accessing features, audio processing and for recording on any device, the VideoMic GO II has been designed to simplify the capture of professional-quality audio. Running on AC or USB power, the batteryless shotgun features the same acoustic design as the NTG and NTG5 models, including annular line tube technology. When used in USB mode, the 3.5mm port functions as a headphone output for zerolatency audio monitoring and playback, transforming the VideoMic GO II into a fully featured USB mic. A shockmount and windshield is included with the package.

NEUMANN.BERLIN HAS unveiled its first product range especially for close miking instruments. The modular and rugged construction provides stability for live performances including nine mounting solutions to find the optimum positioning for acoustics. To create the Miniature Clip Mic System, the German microphone engineers upgraded the KK 14 capsule by removing production tolerances previously associated with electret solutions to date. Neumann’s developers spent six years researching the capsules and the production processes that would be necessary to make this a reality. By removing previous production tolerances that impacted sound level and frequency response, the resultant electret microphone offers constant performance. With minimised self-noise and a maximum sound level of 152dB, the KK 14 can be used for both very quiet and loud instruments. The nine options provide a secure attachment to brass, string and stringed instruments,

pianos, drums and percussion. A self-adjusting, spring-loaded system together with the latest mounting concepts for specific applications minimise the damage of sensitive surfaces. Thanks to connection cables with either a 3.5mm jack, Lemo, MicroDot or four-pin mini XLR connectors, the system is compatible with all standard bodypacks for wireless setups. www.neumann.com

www.rode.com

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PRODUCTS

Focusrite collaborates with SSL Austrian Audio extends Hi-Xcursion technology

FOCUSRITE HAS joined forces with Solid State Logic (SSL) to offer SSL System T console users the ability to directly control the Focusrite RedNet MP8R remote-controlled mic preamp from the desk. When working with a console, a lot of engineers prefer working from a single platform as opposed to having studio control room or FOH control of the preamp parameters by way of RedNet control on a computer. The partnership will reportedly result in a simplified workflow, allowing engineers to focus on their mix instead of worrying about the technology behind it. Along with direct console control, a paired SSL System T console can store and recall MP8R parameters with console scenes and showfiles. MP8R devices show up on the network in the same way as any Dante-enabled device.

System T software can route individual mics immediately but also can configure these as logical instances for managed and secure access. When routed to a console channel path mic gain, pad and phantom power are immediately mapped to the channel strip for hardware and software control. Gains and controls are stored and recalled with the console’s showfiles and scenes for precise operation in fast-paced productions. With the control interface between the RedNet MP8R preamp and the SSL System T console, console users who want everything to be done from the desk are now said to have an additional option. www.focusrite.com www.solidstatelogic.com

Networked steel DESIGNED ON the same principals as the LM-2 Link for busy hospitality venues, Cloud Electronics has created the DLM-1 Dante line and mic active input plate. Like the LM-2 Link, microphone and line level music sources can be connected locally to the face plate via the XLR and RCA inputs from within the same zone. The DLM-1 module, however, allows a microphone and stereo music source to be connected at a remote location. The music input is mixed with the mic signal and the resulting output appears

FEATURING THE sonic signature of the Hi-X6 series, the Hi-X60 over-ear, closedback headphones have been designed for recording, front of house, mixing and mastering. The headphones are suitable for loud environments like FOH where the high passive-noise suppression reportedly ensures an optimum signal-tonoise ratio and creates an accurate and hearing-friendly sonic environment. In the studio, the Hi-X60’s closed-back isolation prevents sound from escaping out into the recording environment and interfering with the microphone capture. For instrument or vocal tracking, both features work together and are said to provide the artist with a coherent, healthy signal without leakage. All Hi-X headphones feature a 44mm driver and a ring magnet system. According to the manufacturer, the design allows for improved airflow and includes the strongest magnetic field in its class. The ring magnet, combined with a copper-clad aluminium voice coil, reduces the weight of the membrane and the voice coil connected to it, allowing the membrane to move or change direction faster, providing a more responsive impulse reaction. With comfort in mind, all touch points are made from soft, durable memory foam. In addition, all load-bearing and

www.austrian.audio

Dante-equipped amplifier or mixer, and the speaker outputs where the module is located. Selectable mic-over-music priority is provided. Further distinguished with a steel face plate in a black or white finish, the DLM-1 features input gain controls and a selectable high-pass filter on the mic input to reduce handling noise. Gating, mixing and audio management features are included for remote access to audio input solutions.

Front panel controls on the DLM-1 as a mono Dante channel at a standard RJ45 Ethernet port. Typically, the Dante

moving parts are made from metal to promote stability, reliability and robustness. The rugged design reportedly ensures that the fold mechanism is good for years of everyday use and that the Hi-X60 holds up even under the roughest recording conditions.

channel will then be routed via the Dante network to the audio system, such as a

www.cloud.co.uk

Outline puts acoustics to the test DESIGNED IN collaboration with the Department of Mechanical and Industrial Engineering at Brescia University, Outline has unveiled the GSR (Globe Source Radiator) to assist in the testing of acoustic insulation of internal walls, floor slabs and insulation from the external environment, plus the acoustic properties of any internal space where sonic performance is important. The GSR is also applicable in automotive, industrial, scientific and commercial settings, since numerous essential acoustic parameters may be derived from measurements made using it as a sound source. The GSR can determine Clarity Indices (C50, C80), Intelligibility Indices (AlCons, STI, RASTI), Reverberation Time (RT60), Early Decay Time (EDT), Soundproofing Power, Impulse Response and Intensity (G). It is also fully ISO10140, ISO354, ISO3382 and DIN 52210 compliant.

The design combines a spherical enclosure with an Ergal aluminium inner structure that houses 12 5-inch neodymium-magnet transducers and is reportedly the first such device to include a bass-reflex design to extend its frequency response. The Italian manufacturer states that the GSR is also the only truly spherical device of its type available today, with its globe design reportedly eliminating diffractions, reflections and other anomalies caused by non-spherical radiators, which can compromise the accuracy of data measurement. The GSR is capable of producing a maximum SPL of over 130.3dB. The device is available as part of a complete user-ready kit, comprising a GSR, an NG01 Noise Generator, a compact amplifier (Outline’s L3000) plus the

necessary cables, a transportation bag and a set of mounting accessories, providing a portable setup ready for immediate deployment. A dedicated self-powered subwoofer kit is also available and is

suitable for applications where measurements of low-frequency data are required. www.outline.it

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Contacta develops IP-rated window intercom ASSISTIVE LISTENING specialist, Contacta Systems, has introduced the STS K009-IP as the company’s first IPrated speech transfer system. Developed in response to demand created by the pandemic with the installation of safety screens across most business sectors, the K009-IP staff and customer units are IP55-rated against water, dust and dirt. In addition to providing an open, hands-

free communication channel independent of a telephone line, the K0009-IP is equipped with an LED light and a call facility should staff need to be alerted to a customer’s presence. A range of extension leads ensures that the call unit and the staff can be located up to a distance of 20m and a hearing loop can also be added to the system. www.contacta.co.uk

Hollyland makes solid commitment with M1 DESIGNED PRIMARILY for event organisers and media producers, Hollyland has launched the Solidcom M1 wireless intercom system. Operating within the 1.9GHz band, the full-duplex intercom features noise cancellation and can support up to eight beltpacks. Integrating a panel antenna within the base station, the Solidcom M1 can cover a range of up to 400m in front of the base station. By attaching two included external FRP antennas, 360° transmission within a radius of 300m makes the Solidcom M1 ideal for large-scale spaces and obstructed venues. Individual numbering of the beltpacks within a group facilitates plug-and-play setup. A maximum of three groups can be created

EnGo 265 takes mobile broadcast to new levels IMPROVING THE ability for news crews and live broadcasters to quickly go live from any location, Dejero has launched the new EnGo 265 mobile transmitter. The device replaces its predecessor, the EnGo 260, and offers greater levels of security in addition to lower latency, at 0.5s over bonded cellular connections. EnGo 265 makes use of Smart Blending Technology to combine multiple network connections to transmit broadcast-quality live video while intelligently managing the fluctuating bandwidth, packet loss and latency differences of the individual connections in real time. To meet the increased market demand for security, Dejero has taken steps to further

protect video streams. In addition to AES256 encryption, the EnGo 265 includes a securityhardened Linux OS and a cryptoprocessor to authenticate the hardware. A new GateWay mode provides wireless broadband internet connectivity in the field to enable mobile teams to reliably, securely and quickly transfer large files, access MAM and newsroom systems and publish content to social media. The GateWay mode also provides general internet access to resources for field research, access to cloud-based services and serves as a high-bandwidth access point for devices. Providing the reliability and throughput of a fixed line connection while operating in a

Fiberfox extends fibre-optic connectivity NEUTRIK HAS added the Fiberfox range of expanded beam technology connectivity systems to its portfolio of fibre-optic solutions. Designed to meet the requirements of MIL-DTL-83526 military specifications by enabling multiple interconnections with other expanded beam solutions, the fibre-optic connection system has been designed for use in high and low temperatures, in addition to wet or dusty conditions. Relevant applications include AV networking, lighting, touring sound and event production, video and broadcast in addition to wider industrial and strategic sectors, including defence, security, transportation and petrochemicals. Fiberfox can withstand in excess of 10,000 mating cycles without maintenance or insertion loss and can be cleaned using water and a

lint-free cloth. IP68 compliant and certified waterproof up to a depth of 6m, the connectors feature a screwed locking mechanism. Capable of both front and rear mounting, the connector eliminates the need for adaptors and female and male mating halves. www.neutrik.com

and managed from the base station control interface, the Hollyland App or a web address. The base station can be cascaded to multiple sets of audio equipment, including legacy intercom systems via Cat6 or XLR connection. The lightweight beltpacks are equipped with a detachable antenna and an HD LCD screen. Three individually shaped function buttons on the front of the beltpack prevent mis-clicking in dark BOH environments. Each Solidcom M1 set includes Lemo headsets featuring mic on/off control by raising or lowering the boom and a 3.5mm connection for third-party headsets. www.hollyland-tech.com

scenario demanding wireless connectivity, GateWay mode combines live transmission and internet gateway capabilities into a single device. It aggregates available networks to maximise reliability and increase bandwidth. In most newsgathering and remote production scenarios, this involves bonding cellular connections from multiple carriers, with the option to also tap into satellite connectivity when needed. When used with Dejero’s Vehicle Antenna Dock, the EnGo 265 can be securely mounted into vehicles and attached to external antennas to boost reception. www.dejero.com

Wohler meets depth requirements THE iAM-AUDIO-1 PLUS and iAM-AUDIO-2 PLUS units have been reduced in size by 2 inches to 5.5 inches to meet all shallow-depth requirements. In addition, two 3G-SDI inputs on BNC and a looped output of the selected SDI input have been added, while the monitors retain an SFP slot for additional SDI, 2110 or

Dolby processing, the audio-over-IP option card offers monitoring of either Dante or Ravenna and includes monitoring of 2110-30. Primary and secondary RJ45 Ethernet ports on the card enable hitless (redundant) 2022-7 monitoring. Also available is an analogue option card, offering a further eight balanced inputs and

iAM-AUDIO PLUS 2022. A fourth rotary encoder has been added to the front panel to further allow a mix of touch controls and mechanical controls. While other functional aspects remain the same, including the ability to license AES, MADI, additional custom mix output routing and

outputs on DB-25 connectors, as well as a TOSLINK (SPDIF) connector. APIs, remote GUIs and network ports remain standard on both units. www.wohler.com

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SSL enters the BiG SiX for hybrid productions FEATURING COMPREHENSIVE AD/DA conversion, advanced monitoring and routing together with enhanced SSL EQ, the BiG SiX mixer expands recording and production capabilities for artists, producers and engineers. With the launch of the BiG SiX, Solid State Logic (SSL) has created a desktop mixing console for hybrid recording and mixing productions. The 16-channel model combines technologies derived from large-format SSL consoles with AD/DA USB integration, additional processing and advanced routing capabilities. Also included is an Essential Version of the SSL G-Comp Bus Compressor including an Auto release feature, channel dynamics processing and a three-band EQ based on the SSL 4000E console. The monitoring section features a full source matrix feeding two independent headphone outputs, together with an 18-channel analogue summing at mixdown capability. In addition to 16 channels of 96kHz/24-bit USB conversion for rerouting to external inputs, stereo cues and pre/post-fader options, BiG SiX also features fully balanced insert points on all SuperAnalogue inputs, 100mm SSL console grade faders, Mix Bus Inject for cascading additional SiX and BiG SiX mixers and dual independent headphone outputs. The four SuperAnalogue mic/line/ Hi-Z inputs with polarity switch can be

attack and release controls are all optimised for maximum transparency. In addition, the SSL Fusion HF Compressor plugin also introduces new Mix and Auto Gain controls, which respectively allow users to nondestructively dial in the perfect amount of HF smoothing, and smooth out high frequencies while maintaining their level. Along with Eco mode for tracking and recording, which reduces latency and CPU load for tracking and recording, the SSL Fusion HF Compressor also introduces built-in help. Users can click the question mark symbol in the bottom right-hand corner and mouseover the GUI for context-aware guidance and information about the plugin and its controls. The Gain Reduction History graph also provides users with a detailed visualisation on the effect of the circuit. BiG SiX

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individually switched to dual mono for added recording flexibility. The latest Fusion-based plugin has also been released by SSL. The Fusion HF Compressor is available in multiple formats, including VST2, VST3, AAX and AU. As on the original Fusion hardware processor, the plugin affects only the frequencies above the X-OVER, and is designed to deliver smooth compression and a tapelike, high-frequency rolloff to tame unwanted harshness that can build up in a mix, or within individual stems. The HF Compressor’s ratio,

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PRODUCTS

Next-gen diamond shines for Lawo DEVELOPED AS a broadcast console for radio and TV applications, Lawo has unveiled diamond. Based on the open AES67/Ravenna audio-over-IP networking standards, the IP-native mixing system also complies with the ST2110-30/-31 and ST2022-7 protocols. Powered by the Lawo Power Core Engine, diamond provides expandable I/O, accommodating AES67, MADI, analogue, AES3 and Dante audio sources and destinations. Modular by design, diamond is available in configurations ranging from 2–30 physical faders, either as desktop or flushmounted build. Two 30-fader frames can be physically paired to create a 60-fader version.

for 16 I/Os to interface 12G single-link SDI signals and destinations on 11 inputs and 11 outputs. The five remaining I/Os remain available for 3G-SDI signals. The io_bnc_ 11+11 is Lawo’s first rear plate whose 11 inputs and 11 outputs are all 12G single-link capable. Providing 16 microBNC connectors that can be individually configured as baseband SDI inputs or outputs via software configuration, the io_bnc_16_BiDi comes with bidirectional baseband I/Os that are now available with 12G single-link SDI connectivity. Like existing io_bnc rear plates, the micro-

The 28-fader diamond console Fader-adjacent colour displays provide extended source information and two fader layers allow operators to instantly switch between multiple tasks. Motorised faders and encoders inherited from Lawo’s mc² audio production consoles extend integration with program automation and playout systems when used in multiplelayer operations involving voice tracking, remote production or DAW control. Programmable, colour-coded LED button and encoder lighting highlights common control functions. Since its launch in 2016, Lawo’s V__ matrix IP-broadcast core infrastructure

BNC connectors are primarily intended to receive and transmit SDI signals, although they can be software-configured for MADI data transfer. Replacing the vm_streaming App, Lawo has also developed the vm_avp App for the software-defined V__matrix C100 ecosystem for gateway services and IPbased AV processing. Enhanced with major features, the +ab_ dsk licence option adds video mixing and keying to the V__matrix offering. It unlocks eight video mixing/keying instances @3G

io_bnc_16+16 ecosystem has transformed installations into flexible, futureproof production and delivery facilities. Designed for tech rooms, private-cloud hubs and OB trucks, the C100 processing blades include a variety of software-defined video and audio workflows that assist in the transition to a fully IP-based environment with gateway functionality. To further exploit the processing capacity of the V__matrix C100 blades in a smaller footprint, the German brand has released three rear plates for the connection of SDI baseband equipment to an open-standards-based IP network. The io_bnc_16+16 fixed-format rear plate incorporates 32 micro-BNC connectors

per vm_avp instance. Each instance can work in one of four modes and can be cascaded: AB Mix (blends between two sources), AB Mix Independent (source blending over colour matte), LUMA Keyer (linear keying) or LUMA Keyer Advanced (linear keying supporting shaped keying). The +tc_gen licence generates timecodes from PTP or other time sources and provides up to three independent generators. Generated ancillary timecode (ATC) formats, which can be embedded into TX and SDI outputs, include VITC1, VITC2 and LTC. A linear timecode (LTC) can be generated as a digital audio signal.

SENN devel relea offers room

TSL Control offers ultimate in flexibility WITH THE integration of the TSL and DNF product lines, TSL Control now encompasses all the company’s control solutions, including TallyMan and Flex Network under one umbrella. Having taken an R&D approach to create broadcast control solutions based on specific applications, the initiative creates a combined system across product lines that specifically addresses unique workflow requirements. TSL Control includes the GTP-42 Flex network controller, solutions in cost-effective IP routing and multi-network control, playout control and automation including SCTE and DTMF monitoring, as well as the TallyMan Redundancy Package. As part of the Flex Control network, the GTP-42 system controller provides decreased power consumption, a clear front panel display and dual-redundant power supplies. The GTP-42’s upgraded Linux core enables TSL to deploy an entirely virtualised GTP in any environment, whether in a facility, on COTS hardware or in the cloud.

TSL has also developed a cost-effective solution for IP routing, easing the transition from traditional workflows to IP and hybrid systems. With capabilities including the grouping of audio, video and metadata flows for synchronised routing familiar to SDI operators, transitions from IP and SDIdominant areas of a facility, across buildings or between OB trucks can be made with no changes in workflow. Offering an ability to replicate between two system controllers with automated failover, TallyMan control system features full, dual redundancy. With the inclusion of all protocols, features and functionality, TallyMan can be added to a pre-existing infrastructure, reportedly making the deployment of dual redundancy simple. The TallyMan Redundancy kit includes dual redundant system controllers and the TallyMan redundancy panel. www.tslproducts.com

Controlling eMotion CREST AUDIO’S Tactus.Control platform has gained support for V12 of the Waves eMotion LV1 mixer with embedded MIDI control. Tactus.Control offers motorised physical fader control for the eMotion LV1. The device can be used to supplement the eMotion LV1 touchscreen by providing moving faders, illuminated buttons and knobs for the most used functions. It offers 16 motorised channel faders, with mute cue and select buttons along with a multi-line scribble strip display. These can follow screen layer selections or be locked on a layer for expanded control. There are two master faders that can be mapped to any input or master fader in the console, while a single control knob follows

onscreen parameter selection for quick adjustment. It also has eight mute group buttons, eight user buttons with label screens, four plugin control knobs, scene and layer control buttons, cue level and clear. It connects to the host PC running eMotion LV1 via USB. The latest update offers resizable plugins, retina-ready graphics, a preset browser and the ability to quickly find and add presets. The combined system gives operators a flexible audio mixing solution and the ability to expand up to 256 channels to meet fixed install and touring system requirements. www.peaveycommercialaudio.com

www.lawo.com

88 PRO AVL ASIA March–April 2022

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25/02/2022 14:34

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PRODUCTS

Sennheiser and 1 Beyond collaborate to take the room SENNHEISER AND camera tracking developer 1 Beyond have collaborated to release a new camera tracking solution that offers voice-activated camera tracking for rooms of any size.

With multiple cameras, the intelligent switching algorithm creates broadcast-style cuts with no camera movement for remote participants. With auto-configuration based on a room design, camera presets do not

1 Beyond’s Automate VX The integration of Sennheiser’s TeamConnect Ceiling 2 (TCC2) microphone array and 1 Beyond’s Automate VX combine to produce close-up shots of standing and seated speakers in a room. Multiple ceiling microphones can be combined to cover larger spaces and up to 12 cameras can be placed anywhere to get the best camera angles, regardless of where the speaker is located.

and QSC have strengthened ties for modern meeting spaces. Enhancing the audio quality for hybrid meetings, the Zoom-certified Sennheiser and QSC bundle is promoting the upgrade of conferencing spaces for global institutions. The solution combines the Q-SYS Core 8 Flex processor, SPA Series amplifiers and AcousticDesign Series AD-C4T ceiling loudspeaker from QSC with the TCC2 microphone array from Sennheiser. Sennheiser has also launched a pair of professional headphones for mixing, editing and mastering. The HD 400 PRO studio

need to be set manually. The installer can select how tight or broad the camera angles should be with customised shot widths. Providing more precise audio location information, the beam can point to up to 700 unique positions and the setup can also distinguish between seated and standing participants. In other news, Sennheiser

www.1beyond.com

HD 400 PRO

A touch too much for MXCW

DESIGNED FOR less-formal environments during free-flowing conversation, Shure has added a Handsfree Mode to the Microflex Complete Wireless conference system (MXCW). With Handsfree Mode, participants’ microphones are automatically voice-activated without the need to press a physical button. To accommodate various styles and dynamics of meetings, MXCW users can toggle between handsfree, manual or remote microphone activation to best suit the style of conversation. In Handsfree Mode, each conference unit evaluates the level, spectral content and signal-to-noise ratio of the audio at its microphone to determine when speech is present. The conference unit sends a “Request to Speak” signal to the MXCW’s Access Point Transceiver (MXCWAPT), which then assigns a transmission channel to it before adding its audio to the floor mix. The entire microphone activation process takes 20ms. Handsfree Mode for

MXCW’s Handsfree Mode the MXCW Wireless Conference System is available with firmware version 7.0 or later. Designed for today’s content creators, musicians and recording artists, Shure has also unveiled new enhancements to its portfolio of SRH headphones.

reference headphones have been designed as a companion for creators seeking natural and precise sound reproduction to accurately assess their audio mixes. To ease long sessions, the HD 400 PRO features a comfortable and lightweight open-back design fitted with soft velour ear pads. The unit includes both coiled and straight detachable cables, allowing the headphones to adapt to different use preferences. The HD 400 PRO features a wide frequency response of 6Hz–38kHz to give music producers the full account of their mix. The Sennheiser-developed 120Ω transducers include a diaphragm made from a special polymer blend which, together with the driver magnets, is said to produce deeper, yet totally clear and well-defined bass. Distortion is below 0.05% (measured at 1kHz, 90dB SPL).

The second-generation SRH440A and SRH840A headphones incorporate a series of design upgrades, including a lightweight headband to reportedly provide superior audio, long-wearing comfort and durability.

www.qsc.com www.sennheiser.com

Featuring nuanced improvements including lower harmonic distortion and more precise left-right driver matching, both headphones are optimised for critical listening and studio monitoring. The SRH840A offers a precisely tailored frequency response powered by 40mm neodymium dynamic drivers to deliver “a rich bass, clear midrange and extended highs”, while the wide, padded headband and collapsible design are said to combine to create “an enhanced listening experience”. The SRH440A reportedly delivers detailed frequency response with “accurate audio” designed for podcasting, home recording and critical editing and mixing. Finished in matt, the closed-back, circumaural design rests comfortably over the ears and reduces background noise. Both models include a carrying bag, detachable 3m locking bayonet cable and a threaded gold stereo 1⁄8 - to ¼-inch adapter. www.shure.com

Atlona detects the right mood in the room

WITH THE development of the AT-OCS-900N, Atlona has created a network-enabled occupancy sensor as part of its portfolio of touch-free AV control components. In addition to detecting occupancy, the AT-OCS-900N also detects the temperature and ambient light to trigger Atlona AV solutions or third-party devices over an IP network. Incorporating passive infrared (PIR) technology, two ceiling-mounted AT-OCS-900N models detect occupancy within a coverage area up to 85m2 or 188m2, depending on ceiling height. A blinder insert is included to limit the sensor’s field of view and prevent detection in unwanted areas, such as doorways.

The sensor communicates directly over the network to select Atlona switchers and the AT-WAVE-101 wireless presentation platform. In turn, this triggers automatic display control and relays for motorised projection screens and window shades based on whether people are detected in the space. For more complex applications, the sensor works with the Velocity AV control system for automating functions ranging from display on/off and switcher input selection to camera presets and audio levels based on room occupancy. In addition to enabling fully automated AV system operation in conference rooms,

huddle spaces, classrooms and lecture halls, the AT-OCS-900N can also be used in hospitality and retail environments to create interactivity with digital signage and videowalls based on motion near the displays. The PoE device captures temperature and ambient high-level information, by communicating data to ventilation, lighting and other systems over the TCP/ IP network using open standards such as MQTT and REST. Spring-loaded clamps

secure the sensor to a ceiling tile, and the device’s configurable LED indicator can be customised for both colour and activity. www.atlona.com

March–April 2022 PRO AVL ASIA 89

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PRODUCTS

Tasker extends M4 StarQuad cable drum looms for Klotz AIS C128 range THE ORIGINAL C128 cable, available in seven colours, has a nominal section of 2x0.35mm2 with a red and tinned OFC copper formation, cotton filler to avoid distortion, an OFC tinned copper braid shielding covering 90% and an outer diameter of 6.3mm. The C128 LSZH is available with or without homologation and is classified as CPR EU305/2011 for low and medium fire resistance, while the C128 PE with a polyethylene outer sheath is water resistant

and suitable for outdoor and underground use. The C128 PUR also has a polyethylene outer sheath, is flame retardant, halogen free and resistant to friction, UV rays and heat/cold. With a temperature range of –40°C to +80°C, it’s suitable for outdoor use or under water to a depth of 50m. The C128 AR has a steel armour sheath and has been designed for underground installation.

DESIGNED FOR events and sound recordings, the M4 StarQuad microphone cable drum from Klotz AIS integrates a four-core StarQuad SQ422Y cable with a conductor cross-section of 4x0.22mm² (AWG 24). To avoid hum and noise caused by inductive magnetic fields, the two opposite wires are connected to create a quad connection of the microphone cable with a solid conductor cross-section of 2x0.44mm² (AWG 21). The four wires are twisted symmetrically and in combination with the dense braided shield, providing shielding coverage of over 90%. Available in lengths of 50m, 75m and 100m, the cable drum is equipped with a parking brake and is terminated with black chromed XLR 3p Neutrik connectors and protective caps. In its quest to ensure a stable signal transmission and a perfect overview, the German manufacturer has also developed four-channel and eight-channel DMX looms. The DMX looms of the SCD series utilise its flexible OmniWIRE multicore with spiral shield and PVC jacket. The individual cables at the splice are surrounded by braided sleeves with self-extinguishing properties that can operate across a –70°C to +150°C temperature range. For a perfect overview, the individual channel lines are marked with printed shrink tubing and the DMX looms are equipped with

M4X1-50 transparent heat-shrink tubing on both sides for individual labelling. Available in 3m, 6m and 9m lengths and equipped with XLR 5p plugs, the DMX looms comply with the digital AES/EBU standard (110Ω) for DMX control signals. The PowerLink Truss & Stagebox is described by the cable manufacturer as a robust, ergonomic and easy-to-use power distribution system. Designed for live events, theatres and TV studios, the PowerLink Truss & Stagebox is equipped with one-in/four-out Neutrik powerCON

True1 plugs and offers a power carrying capacity of up to 16A/250V. The plastic housing is designed with rounded absorber edges and a robust surface to absorb shocks. Inside the box, stiffening cross ribs, in conjunction with six housing screws, are said to give the PowerLink Truss & Stagebox a very high level of resistance and provide compliance with current safety standards. It can be attached to a truss via two PowerLink Clamps or with two O-rings. Alternatively, the box can be equipped with an optional metal bracket underneath. This has two predrilled holes as well as an M10 screw connection for secure fastening. The cable manufacturer has also released two DMX cable drums with fully wired XLR 5p plugs. Due to the five-pin assignment of the XLR connectors, the cable drums are 100% compatible with the DMX-512 standard. Klotz has used the triedand-tested DC422CY data cable with a conductor cross-section of 4x0.22mm2 (AWG 24) and tightly stranded wire pairs as the DMX cable. The solid construction with a jacket made of resilient special PVC and a double shielding made of tinned copper braiding and additional AL/PET foil reportedly ensures smooth performance and perfect EMC values. Low capacitance and the defined characteristic impedance of 110Ω are said to enable the transmission of DMX signals even over very long distances. www.klotz-ais.com

www.tasker.it

Low end of the Sommer DEVISED SPECIFICALLY to operate with loudspeaker systems adopting Sensor Control Subwoofer technology, Sommer Cable has produced a customised cable for the rental and live events sector. Measuring 19.5mm in diameter, the SC-Elephant Robust is a DMX power and DMX combination cable. Embedded in the stranding compound of the 4x4mm² speaker cable is an insulated and shielded DMX cable, with a wire cross-section measuring 2x2x0.22mm². The integrated 110Ω control line provides sensor-control of subwoofer systems without the requirement to connect extra cables. In

SC-Elephant Robust

addition, the control line can also be used as an ordinary microphone cable and for tie lines. Created to mitigate caustic bird droppings and to deter rodent damage to outdoor satellite cables, Sommer Cable has released the SC-Aqua Marinex Astral LLX 1.13/5.0. Reportedly offering lifelong UV resistance, the smooth surface outer jacket does not include a plasticiser, making it difficult for the animals to gnaw. Furthermore, the weather-resistant Aqua Marinex is reinforced by an “almost impenetrable” aramid braid which can be used as an additional strain relief. Extra shielding promotes high damping values and an optimum HDTV transmission quality. The additionally integrated protective banding extends its application in permanent underwater installations. Equally suited to tunnel or surveillance engineering, Sommer Cable recommends the HICON HIFM08 F-antenna connector, the FM-5.8 or BNC connectors for connected assembly. www.sommercable.com

NHD-600-TRX

WyreStorm advances NetworkHD series THE NETWORKHD series has an updated 4K60 4:4:4 10GbE SDVoE transceiver, designed to suit modern AV requirements. The NHD-600TRX is described as smaller, lighter, faster and more power efficient than its predecessors and supports content up to 4K60 Dolby Vision. With advanced multiview processing, the device supports up to 16 different windows with full control of sizing and layering. Other features include uncompressed 4K video support, zero latency and flexible processing modes for instantaneous AV switching. The manufacturer has also released its ultrahigh-speed HDMI cables for video streaming, gaming and videoconferencing. The 8K HDMI cables offer uncompressed transmission of

HDMI content up to 48Gbps and a resolution up to 10K 30Hz, suitable for extracting the maximum performance from 8K displays, gaming consoles and pro AV matrix switchers. Certified for HDMI 2.1 connectivity, the cables can support resolutions and refresh rates of 8K@60 and 4K@120 and even up to 10K. Dynamic HDR formats are also supported, and bandwidth capability is increased up to 48Gbps. The cables are also compatible with High-Fidelity eARC technology, while the Variable Refresh Rate is said to provide smooth performance and virtually eliminate image lag, stutter and frame tearing. www.wyrestorm.com

90 PRO AVL ASIA March–April 2022

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PRODUCTS

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March–April 2022 PRO AVL ASIA 91

PAA Pg78-101 Products.indd 91

25/02/2022 14:38

PRODUCTS

Crestron broadens DM NVX series COMPLETING ITS 4K 4:4:4, 4K 4:2:0 and 1080p lineup, Crestron has added five interoperable encoders and decoders to the DM NVX AV-over-IP range of network video solutions. Hosting the same streamlined integration process with familiar web and programming signals, the DM network video solutions are suited for higher education applications, in addition to smaller meeting spaces and collaboration rooms. One pair of NVX encoders and decoders serves 1080p applications, while another pair have been designed for 4K60 4:2:0 and 4K30 4:4:4

requirements. The fifth PoE model features 4K60 4:2:0 compatibility and integrates a builtin scaler with videowall processing. Addressing lower resolutions without sacrificing security, the five additions support Enterprise-Grade Security standards from encryption to device and user access. All encoders and decoders reside on the same Crestron DM content distribution platform and are supported by the Crestron XiO Cloud technology operations management platform. www.crestron.com

Avid welcomes Meyer Sound’s Latest Channel plugin Spacemap Go makes Waves

MEYER SOUND has introduced the Spacemap Go plugin for Avid’s Venue 7 software platform and the Pro Tools digital audio workstation (DAW). The AAX plugin enables Avid Venue | S6L users to directly access functions of the Spacemap Go spatial sound design and live mixing tool from the console’s built-in touchscreen and control surface. In addition, the plugin allows integration of Spacemap Go snapshots within the Venue master show file for creating virtual loudspeaker layouts and automating dynamic panning within the immersive sound field. When installed in Venue, the Spacemap Go plugin functions as a client of the Spacemap server. When the console and the server in the Galaxy Network Platform are connected on the same network, setup is automatic and bypasses any IP addressing or port management requirements. Functions accessible on the S6L touchscreen and CKM module knobs include X/Y position, crossfade, spread, trajectory status (play/pause/stop) and trajectory rate for each channel. The spatial sound design and live mixing tool utilises the processing power of the Galaxy Network Platform within an iPad app. Snapshots can be created in most DAWs and integrated into the S6L master show file for static placement or dynamic movement of sound. The snapshots can be fully automated or synchronised using the console

control surface, one or more iPads or both simultaneously. Both the Venue | S6L (with the optional Avid 192 card) and the Galaxy Network Platform are certified by the Avnu Alliance as compliant with the AVB-based Milan network protocol. Compatible with Venue 7 and later software and version 1.2.0 of the Spacemap Go app for iPad, the free Spacemap Go plugin can be downloaded from the Meyer Sound website and is also is available in AU and VST formats. Key control functions for Spacemap Go have also been integrated by default into the latest V5.0 Live software from Solid State Logic. www.avid.com www.meyersound.com

DirectOut shows two faces for SoundGrid

DIRECTOUT HAS added Waves’ SoundGrid audio networking technology to the existing Dante and Ravenna protocols supported by the EXBOX and PRODIGY Series. Housed within a third-rack width frame, the MADI and SoundGrid interface is the latest addition to DirectOut’s EXBOX Series. Capable of routing 128 SoundGrid channels in blocks of 64 to any of the three MADI ports (coaxial BNC, optical SC and SFP), EXBOX.SG bilaterally connects with two MADI ports being routed towards SoundGrid for converting a further 128 channels. EXBOX.SG can be powered by up to two external power supplies in addition to PoE. Four

network ports are linked to an internal switch that can be directly connected to redundant recording systems and plugin servers. Promising extremely low latency, SG.IO is a new PRODIGY module with optional HD SRC technology, promoting asynchronous operation between the module and the mainframe.

AUTHORISED BY SSL, the Waves SSL EV2 Channel plugin is a recreation of the SSL 4000E console channel strip. With added features including the original SSL “O2” Brown EQ and the console’s saturated mic pre and line inputs, SSL EV2 Channel delivers analogue depth and detail. In addition to dynamics and EQ controls, the SSL EV2 Channel plugin can be switched between the Black Knob (242) and the original Brown Knob (O2), which was the first EQ developed for SSL E-Series consoles. The newly modelled line and mic preamp input section provides rich harmonic distortion options including THD (Total Harmonic Distortion), which comes with the analogue switch for recreating the saturated analogue console sound. The Dynamics section includes a soft-knee compressor/ limiter and a gate/expander. The Waves SSL EV2 Channel comes with over 600 presets and is available separately or as part of the Waves SSL 4000 Collection and Waves Studio Classics Collection. The manufacturer has also released Retro Fi, a selection of lofi noises, spaces, devices and textures for synth lines, vocal adlibs or instrumental tracks. Four modules/

SSL EV2 Channel plugin sections are available: Device, an analogue colouring and tonal shaping engine; Space, which adds saturated echo and analogue reverb; Noise, which is a library of over 60 textures; and Mechanics, which delivers the imperfections and mechanical wear and tear of old cassette tapes and vinyl records. www.waves.com

Sound Devices announces +4 Plugin for 833 WITH THE release of the +4 Plugin, Sound Devices has added four ISO channels/record tracks to the 833. With

including Automix, NoiseAssist, CEDAR sdnx, EQ and compression. The +4 Plugin requires 8-Series and SD-Remote v8.80 or

the plugin installed, the 833 becomes a 12-channel, 16-track mixer/recorder. The additional channels provided by the +4 Plugin can accept any input source and be routed to the main mix bus, additional busses and any output. Like the original eight channels, any effect can be applied,

higher to run. Firmware v8.80 introduces features such as CL-16 support for the 833, channel copy for Scorpio channels 17–32 and a Power Source icon for SD-Remote. www.sounddevices.com

www.directout.eu

92 PRO AVL ASIA March–April 2022

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25/02/2022 14:39

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Audio Precision updates its APx500 AUDIO PRECISION has released the latest update to its APx500 audio measurement software, version 7.0, adding new enhancements suited to a wide range of audio test applications, whether analogue, digital or acoustic. In parallel with the release, the manufacturer is also introducing APx500 software subscriptions, offering APx users an alternative in how they license APx software, and access nearly any software version and option. The subscriptions will be an alternative to perpetual software licences. While a perpetual software licence – which grants a permanent, non-exclusive and non-expiring right to use the software – will still ship with each new analyser, software subscriptions provide another path for existing APx users to access the latest software release and associated enhancements. Such subscriptions grant a time-limited (one-, threeor five-year periods) licence to use the software and provide access to all versions and all options (excluding PESQ and POLQA). When the subscription expires, the analyser reverts to the software version and options for which it was previously licensed. APx500 version 7.0 enables an APx user, in conjunction with an APx517B, APx1701 or

GRAS 12Bx power module, to run SysCheck2 and receive a pass/fail indication for each connected SysCheck2-capable microphone, without the need for a calibrator or physical access to the microphone. SysCheck2 is a system designed to actively verify whether the sensitivity of a microphone has drifted since its last calibration. With SysCheck2, APx users can verify the accuracy of the entire signal chain without physical access or potential disruption of the test setup. Other version 7.0 features include Fast Sweep, a fast-stepped frequency sweep that provides several advantages in comparison to a logarithmically swept sine (chirp) signal. Improvements have been made to the Fast Fourier Transform (FFT) analysis capabilities of APx software, such as arbitrary lengths, windowless analysis and level triggering. Bench Mode-oriented customers will also have access to the Transfer Function measurement and the complex frequency response function for a device, including the magnitude and phase (or real and imaginary components), using any broadband signal (such as speech, music or noise). www.ap.com

RF Venue takes the strain out of wireless management LAUDED BY early adopters of the product, RF Venue has debuted the RF Venue Performance Calculator, a free online tool designed to reduce the complexity of wireless system performance prediction. With the time-consuming steps of system performance calculation already performed in advance by the developer and incorporated into the software, users of the calculator need only select system components via a handful of drop-down menus – microphone make and series, distance from mic to

antenna, cabling type and length, RF Venue antenna/DISTRO distribution system models and, if known, the RF noise floor of the performance space. With a tap of a Calculate button, the results are indicated by a simple traffic light indication of go (green), caution (yellow) or no-go (red). The RF Venue Performance Calculator is available for use at www.rfvenue.com/ rfvenue-calculator.

A SIGNIFICANT update to the Soundscape Simulation software toolkit has been made available by d&b audiotechnik by adding SPL and localisation mapping within an objectbased workflow. Forming part of the ArrayCalc simulation software, the visualisation tool accurately models a Soundscape system’s real and perceived acoustical performance within a space.

The En-Scene simulation tool provides an evaluation of how the spatialisation created with a Soundscape system will be experienced by the audience early in the production planning phase. The simulator also demonstrates Soundscape’s ability to improve the overall production and listening experience through object-based processing. En-Scene simulation models SPL distribution and perceived object localisation for object positions. A simulation of the entire system

configuration is created by combining the acoustic performance of the loudspeaker system with the En-Scene processing of the DS100 system processor. In addition, Object Localisation predicts how effective the perceived localisation of the sound object is for each listener in the audience area. This psychoacoustic calculation is performed by two different models in parallel. Precedence is an empiric model based on precedence effect and “law of the first wavefront”, whilst Binaural analyses the interaural transfer functions and resulting binaural cues using the impulse responses of all sources and a generic set of binaural HRTFs. Since localisation is a parameter of the listening process and human perception, switches can be made between the visualisation of the two models. For objectively verifying the signal distribution over listening areas for different sound object positions, direct sound SPL mapping of an En-Scene simulation depicts maximum level and level distribution over listening areas. The efficiency of the system design including number, type and positioning of loudspeaker cabinets can be optimised, so that a Soundscape system can be planned and evaluated as accurately as a conventional d&b system design within the same d&b workflow. www.dbaudio.com

Lectrosonics digital receiver operates with Wireless Designer LECTROSONICS HAS announced that the DCR822 dual-channel portable digital receiver can now be used with the Wireless Designer frequency coordination and RF system management software. DCR822 users can now monitor all channels in operation, change settings, initiate infrared

backwards compatible with Digital Hybrid Wireless transmitters. Designed to enhance the setup and operation of Lectrosonics’ wireless microphone receiver and transmitter systems, the Wireless Designer software provides an overall view of the connected systems with a summary of each

data transfers, manage frequency groups, scan the local RF spectrum and calculate system operating frequencies using the Frequency Coordination Engine. Wireless Designer Versions 2.0.30 for macOS and 2.0.34 for Windows are now available with these features for the 822. The compact receiver is compatible with Lectrosonics’ mono and stereo digital transmitters and is

channel displayed in real time. The software includes a spectrum scanner and coordination package for fast setup. The data from the scan along with any custom frequency data including imported lists can then be incorporated into the frequency calculations for an accurate channel coordination.

www.rfvenue.com

www.lectrosonics.com

March–April 2022 PRO AVL ASIA 93

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PRODUCTS

Selenio takes on a new personality

IN AN effort to drive further efficiencies in production, playout and distribution architectures, Imagine Communications has developed an array of software features for the Selenio Network Processor (SNP). The latest major software release adds several important capabilities, including JPEG XS encoding and decoding, an automated changeover switch (ACO), an advanced keyer (DSK) and additional audio management capabilities. These new “personalities” can be enabled on any SNP in the field, and all reportedly take advantage of the core processing of the SNP, including the ability to easily combine HD and UHD, SDR and HDR, and SDI and IP connectivity.

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caption presence and audio presence, audio levels and more. The ACO function switches seamlessly between A and B feeds to maintain a consistent on-air output. In addition to automated operation, users can take manual control of changeovers. A downstream keyer (DSK) is also being added to the SNP’s capabilities. This offers four layers of keying and supports UHD/4K and HDR, using external and internal keys. The feature supports graphics sequencing and animations, and it uses SNP core functionality to allow mixed IP and SDI inputs and outputs. Coupled with the ability to make A/B transitions, and leveraging SNP’s existing dual-UHD conversion personality, the result is a master control switcher with the

ability to up- and down-convert mixed-format content into a consistent UHD presentation with UHD graphics. As demand for remote operations continues to increase across the industry, Imagine Communications has also enhanced its ADC playout automation with the launch

ADC Flex compression ratios between 5:1 and 20:1. The result is said to be an ideal means of communicating between facilities or between remote production sites and a broadcast centre. The JPEG XS codec will be available as an SNP software personality at resolutions up to UHD/4K (and HDR). The user can tailor the bits-per-pixel (coding rate) for the specifics of the application. The ACO uses content-aware metrics to determine the health of each feed, in terms of video presence and quality,

WITH THE availability of the 2022 LG UltraFine OLED Pro monitors (models 32BP95E, 27BP95E), LG Electronics (LG) has developed 4K professional-grade display solutions that provide accurate colour reproduction. Incorporating OLED’s self-lit pixels to the desktop, the monitors are ideally suited to editing high-resolution images and videos. Designed for detailed digital projects, the 32- and 27-inch OLED Pro models include 4K UHD resolution (3840x2160) screens with a 1,000,000:1 contrast ratio and 99% coverage of the DCI-P3 colour space. Both displays offer HDR and SDR performance together with independent pixel control for enhanced colour fidelity and contrast. The portable, lightweight OLED displays do not require

backlighting and are free of the distracting halo effect common on many LCD displays. Designed to produce vibrant colours as intended under optimal productivity conditions, both OLED Pro monitors come with detachable self-calibration sensors and monitor hoods. When used with the LG Calibration Studio software, the calibration sensor measures the light emitted from the display at times predetermined by the user and automatically adjusts to maintain consistent colour accuracy. The included stand attaches securely to the rear of the display with a simple one-click mechanism that can be adjusted for height, pivot and tilt. www.lg.com

MicroLED pixels help Absen see the bigger picture

Selenio Network Processor The SNP’s software-based architecture allows it to deliver all the functionality of a traditional modular processor chassis but in a flexible and reconfigurable form. The JPEG XS codec offers visually lossless production and contribution quality at low latency (less than a frame), and typical

LG sets new standard in picture quality for creatives

of ADC Flex. Running natively in a web browser, ADC Flex is said to provide a powerful, easy-to-use, remote-ready control solution, enabling media companies to leverage existing infrastructure and minimise operational training to reduce their total cost of ownership. ADC Flex can be added to existing ADC deployments or can be used as the basis for new facilities and new channel launches. www.imaginecommunications.com

ABSEN HAS unveiled a series of products as part of an online product launch. Leading the charge is the manufacturer’s eagerly awaited first MicroLED product, Clear Cobalt, which was showcased alongside a new generation HC series of professional smallpitch LED products, the AX Pro MiniLED series and the MR series of professional floor tile screens. The Clear Cobalt MicroLED series boasts 1,200 nits of brightness and a contrast ratio of 20,000:1. The pixel pitch ranges from 0.7–1.2mm and the product uses flip chip technology to improve electrical performance and increase overall reliability. Compared to an SDR (standard dynamic range) display, HDR10 capability allows for an image that is over twice as bright with a corresponding increase in contrast. The Chinese manufacturer has been developing and perfecting MicroLED technology for the last five years. The COB (chip-onboard) technology it utilises has a deep black, nonreflective surface which is reportedly able to produce life-like image quality without over saturation. The Clear Cobalt product boasts a wide colour gamut of 90% BT2020, reduced moiré effect and black uniformity. Also released alongside the MicroLED products is the HC series of professional small-pitch products, the HC II and the HC II Pro. Weighing 5.2kg,

the 27-inch diagonal HD display panels are light and thin, with native resolutions of 4K, 8K or above. The series has a dual receiving card option and a 16:9 standard display ratio. Lastly, the latest series of the AX Pro MiniLED has been introduced as part of the manufacturer’s growing virtual production range, serving as a backdrop screen with 1,000 nit brightness and a high refresh rate of 7,680Hz. Meanwhile, the MR series of professional floor tile screens offers a new virtual LED solution capable of creating immersive LED walls and floors. This enables actors, presenters and creators to interact in real time with their surrounding environment, without being limited to the confines of a green screen. www.absen.com

The MicroLED Crystal Clear series

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The key to the conference room lies in the box OFFERING PROGRAMMING-FREE installation for ease of operation, Key Digital has developed a tailored conferencing solution aptly named Conference Room in a Box. As a developer of digital video processing, signal distribution and AV-over-IP solutions, the latest system aims to accommodate meetings of any size from huddle room to board room, larger conference spaces and classrooms. With a wide variety of interface options, including remote participation via all videoconferencing software platforms, meeting participants can connect laptop AV and USB for local or global participation. Supported by PoE, HDBaseT (PoH) and USB single AC connections, racked AV sources can be controlled by an iOS KD App and an integral CEC display control. Conference Room in a Box systems offer expansive I/O, amplified audio with mic mixing, 1080p PTZ camera control with presets, local and remote video source switching and up to 4K video at 18Gbps. Incorporating five inputs (HDBaseT, 2x HDMI, DP, USB-C), two mirrored outputs (HDBaseT, HDMI), LAN connectivity, audio de-embedding and ARC/eARC support, a KD-UPS52U Universal Presentation switcher is central to the system.

The Ultra HD/4K KD-UPS52U supports up to 4096x2160 or 3840x2160 24/25/30/60Hz at 4:4:4 (up to 18Gbps bandwidth), through a wide range of luminance levels with HDR10 compatibility and deep colour support

hosts audio I/O, an HDMI output, USB and a LAN interface. The central unit integrates natively with the KD-CAMUSB for full PTZ control via the KD-App and a host of other supported control protocols, including the free KDCam PC app.

with mixing, noise gate, volume and remote control via IR and RS-232. The manufacturer has also added source control to its free iOS KD App. Not only does the KD App control Key Digital’s range of AV-over-IP encoder/

up to UHD/4K 30Hz 4:4:4/12-bit or 60Hz 4:4:4/8-bit. A full buffer system that manages TMDS re-clocking/signal regeneration is compatible with HDCP 2.2 and offers signal extension up to 100m at 4K/UHD. The KD-UPS52U is packaged with the KD-X100MRx HDBaseT receiver, which

Tabletop or wall plate interfacing is accommodated by the wall plate switcher with 2x HDMI, DisplayPort, USB-B host and USB-C device connectivity together with IR, RS-232, IP and CEC Manager (Tx) control. Audio support is provided by a dual 20W KD-AMP220 amplifier, phantompowered mic and two-channel line inputs

decoder, switcher, matrix, multi-view and videowall devices but, with the IR and IP PJLink control capabilities of connected system devices, control can also be extended to many display brands and source devices. www.keydigital.com

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RELIABLE SOLUTIONS FOR NATUR AL AUDIO

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3D show simulation previews enhanced by Modulo Pi MODULO PI’S advanced tools are now embedded in the Modulo Kinetic media server platform or available as a dongle-based licence. Designers, producers and technicians have increasingly adopted the Parisian innovator’s next-generation media servers in the creation of 3D visual experiences. With the development of its solutions for 3D projection study and show simulation, Modulo Pi is ensuring that creatives can shape their projects and share their vision with both their team and clients. The tools are available using the Modulo Kinetic media server solution. The hardware and software platform provides a logical and fully integrated workflow from project study and simulation to media playback and show control. Modulo Pi’s 3D projection study and show simulation features can be loaded from a Modulo Pi dongle equipped with the Modulo

Kinetic Designer 2D+3D licence. As a result, projects can be shared and simulated offline directly from a laptop.

By adopting the Modulo Kinetic platform or the dongle-based licence, a real-time 3D scene visualiser can create or import

unlimited scenes and objects. With an extensive internal library of +680 video projectors, the cloner modifier, symmetry tool and lux views available, the project projectors together with their positions and lenses can be determined in advance. Measures and annotations can be added to 3D scenes and any view or other information can be exported to create a study documentation. Once the project is set in Modulo Kinetic or Modulo Kinetic Designer 2D+3D, the show can be previsualised in real time. Media can be dragged and dropped in timelines allowing a preview of the projectors, LED walls or LCD screens positioned in the 3D scenes from any perspective. To push the simulation even further, the project can be visualised using a Virtual Reality headset, whereby show scenes can be previsualised in VR from any angle. www.modulo-pi.com

Ross turns heads with X-Series and XPression 10.5 WITH THE launch of the X-Series of pan/tilt heads, Ross has developed two PTZ cameras as part of the Ross Live series. Developed for remote camera applications, the X350 and X300 are compact heads which come with a 6.8kg payload capacity. The X350 head includes a 5-inch full colour touchscreen for setup, local control and integrated tally. For virtual sets and augmented/extended reality applications, an integrated VS/AR tracking is included. Other features include anti-backlash gearing, cascaded camera connections and Motion Director for synchronised movement and keyframed moves. Developed for more price conscious applications, the X300 includes fewer advanced features. The PTZ-12G and PTZ-NDI cameras have been added to the 4K UHD PTZ series. Designed for a wide range of production

requirements, the PTZ models incorporate a 9.17megapixel and 1/1.8-inch CMOS sensor for capturing 4K UHD 60fps and progressive HD video content. The Ethernet interface enables single Cat5E connectivity, providing remote control via IP VISCA protocol, video output using 4K UHD IP streaming and PoE with the option of routing to an NDI workflow. The lens features an extended zoom range of 30x optical and 12x digital and an upgraded mechanical design providing faster movement. With the availability of v10.5, the XPression real-time graphics platform includes feature updates designed to enhance the collaborative workflow between two or more users working on the same program. A single scene can be shared on another XPression

XPression v10.5 system using the Single Scene import and export function. V10.5 also comes with additional font management tools, including the ability to lock fonts from changes or

deletion, enabling fonts to be cloned. Template data fields can be colour-coded for specific situations, plus the upgrade comes

X-Series

with several new Visual Logic Blocks. With Status Client, the status of all the XPression systems on a network can be visualised from one machine. Compatible with legacy content, the XPression Video Codec 2 is a backwards-compatible codec for working with HDR content and in Wide Colour Gamut. Version 17.0 of Piero, the manufacturer’s sports graphics analysis solution, has been released. The latest version sees an update to the Virtual Presenter chromakeyer, which offers the same keying quality viewers would expect from a news studio and is said to provide much sharper and cleaner edges when the presenter is closer to the camera. Also, camera tracking has been improved and reportedly enables Piero to better manage zoomed in shots where pitch or field lines may be much less visible. In brief, Ross has announced a refresh of its Mira, Tria and Kiva products. The flagship Mira+ replay server now supports 24fps and true 60p frame rates, while Mira Express gets a storage upgrade to 76 hours. The Tria+ multichannel production server has been updated to support a variety of additional frame rates, and the compact Tria Express Duet production server also benefits from the new clip networking feature. The Kiva+ presentation server gets a new sibling, with the new model supporting three PGM/PVW playout channel pairs. www.rossvideo.com

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Failsafe developments for Aetria REINFORCING SYSTEM resiliency, broadening scope for KVM control in addition to offering secure mobile device control, Datapath has added several major developments to its Aetria solution. Engineered specifically for critical 24/7 applications, the Aetria solution draws design, control and management of control room video within a single interface. To provide complete system resiliency, Aetria now supports automatic

platfo or mo secure pre-sa conne Aetri monit Integr enable

failover for the central network manager appliance. A secondary network manager is configured as a hot-standby, which is automatically invoked if the primary appliance fails. Configuration, management and monitoring of both network manager appliances are performed in the centralised Aetria Command Center interface, where manual switchovers can also be invoked if required. Furthermore, operations of the

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Blackmagic perfects three-in-one camera trick DESIGNED AS a 4K production, 4K studio and 6K digital film camera, Blackmagic is shipping the URSA Broadcast G2 three-in-one camera for both traditional and online broadcasters. Using existing lenses and batteries, the three-in-one design can record to external USB disks and SD, UHS-II and CFast 2.0 cards, in addition to file formats such as H.265, Apple ProRes and Blackmagic RAW. A USB-C expansion port on the rear is included for external disk recording or connecting to a range of accessories. The G2 model integrates a 6144x3456 resolution digital film sensor for low light performance, together with dual gain ISO from –12dB (100 ISO) up to +36dB (25,600 ISO). The gain can be set via a camera switch, the LCD menu or remotely using the SDI remote camera control protocol. When adopting the B4 broadcast lens mount, a 4K window of the sensor can be utilised

science create images with high dynamic range and wide colour fidelity, but the scale of the image sensor can be lowered to the 1080HD standard. The optional zoom and focus demands allow customers to use photography lenses for live production. The focus and zoom demands have USB-C connections so they control the lens via the camera’s electronic lens control. Each zoom and focus demand has two USB-C ports, so customers can daisy-chain them, then connect to the camera with a single USB connection. This reportedly provides customers with very fine lens control so they can frame

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AS THE new flagship model in Sony’s digital cinema camera series, Venice 2 can adopt either the newly developed full-frame 8.6K or the original 6K sensor within its compact design. In addition to internal recording, Venice 2 also inherits colour science, Dual Base ISO and eight stops of built-in ND filters. Paired with the 8.6K (8640x5760) full-frame CMOS image sensor, the camera comes with 16 stops of total latitude. The 8K CineAlta camera has a unique dual base ISO of

Further upgrades including compatibility with a wide range of lenses, including all PL mount and Sony’s native E-mount that enable adapters for a multitude of lenses. Despite being 44mm smaller and approximately 10% lighter, the chassis of Venice 2 allows X-OCN and Apple 4K ProRes 4444 and 422 HQ internal recording without the AXS-R7 recorder. The camera can be used with the 8.6K sensor as well as the original 6K sensor block as the camera body automatically recognises the change and will start up without

800/3200 and supports everything from full-frame, full-frame anamorphici to Super35 at a minimum of 4K resolution. With the 8.6K sensor providing sufficient oversampling, images shot on Venice 2 benefit from less noise and enriched information in a 2K or 4K production. Suited for VR, in-camera VFX and Virtual Production setups, the camera delivers an immersive experience in combination with Sony’s high-contrast and large-scale Crystal LED displays.

Venice 2 with 8.6K sensor

www.pro.sony

INCORPORATING A built-in, web-browserbased interface, mobile control app, astronomical timer and contact closure inputs for sensor control, LynTec has devised the

applications. Adding several key innovations to LynTec’s innovative panel options, the controller electronics have been removed from the panel and mounted in a separate enclosure.

any firmware exchanges or re-installs. In addition, the original 6K sensor will allow higher frame rates. Outfitted with an internal microphone, Venice 2 accepts the highspeed AXS-A1TS66 6.6Gbps card for 8K60p recording, although existing AXS memory card readers are compatible.

LynTec meets the demands of lighting and video

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for Ultra HD broadcast use, which can be switched to full 6K resolution when the PL or EF lens mount is preferred. The par focal B4 lenses ensure that the image remains in focus during zoom operation. With 13 stops of dynamic range, colour correction is enhanced with darker blacks and brighter whites. Neutral density (ND) filters have been included to reduce the amount of light entering the camera, while IR filters evenly filter both optical and IR wavelengths to eliminate IR contamination. The high-resolution sensor and generation five colour

platform can be conducted from a phone, tablet or mobile device touchscreen. With Datapath’s secure user rights management applied, any pre-saved layout can be remotely loaded onto any connected videowall. Aetria Workstation now supports direct monitoring and control of Arqa sources. Integration with Datapath’s Arqa AVoIP solution enables hardware-based access to multiple

and adjust the lens without taking their hands off the tripod handles. Accessories include a shoulder mount kit, V-Lock battery plate and top handle together with full DaVinci Resolve Studio for postproduction. Amongst the notable optional additions, a Blackmagic URSA Viewfinder can be purchased separately for live productions or a fibre converter can be ordered for powering the camera from 2km distance via the single SMPTE fibre. www.blackmagicdesign.com

remote sources in Aetria. To enable this, an Arqa receiver is connected to a capture card in the workstation PC, after which Arqa sources are made available for viewing and KVM control from within the Aetria Workstation interface. KVM switching is performed automatically as the operator requests a specific source. www.datapath.co.uk

LCP 378 with LCP control module controlling two LCS 343 secondary panels LCP Series to intelligently support lighting and video power demands. Designed to interface with any third-party control system that uses DMX, sACN, HTTP or Telnet protocols, the LCP Series consists of the same feature set as the RPC power control solution for integrated AVL

Eliminating the need for sidecars, the power supply has been moved into the primary panel enclosure, limiting the maximum width to a standard NEMA 1 enclosure of 500mm. www.lyntec.com

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LivePremier now supported by SDVoE FOLLOWING THE ISE 2020 launch of the LivePremier scalable 4K/8K multiscreen presentation systems and videowall processors, Analog Way has enhanced presentation experiences for high-end staging and premium system integration. The current range includes five highperformance, pre-configured products (Aquilon RS alpha, RS1, RS2, RS3 and RS4) and two fully customisable models (Aquilon C and C+).

With the introduction of field-swappable input and output boards, the French manufacturer has expanded the LivePremier ecosystem with SDVoE technology. Equipped with four 10GbE RJ45 copper connectors, each card can transmit or receive four independent video streams over IP with formats up to 4K60. The cards support up to eight embedded audio channels per input and output and feature an advanced HDCP 1.4 and 2.2 handshake. Interoperable with any SDVoE extender and control system, LivePremier video processors can integrate into an SDVoE environment and workflow. The v2.3 software release supports high frame rates (HFR), allowing full video processing workflows up to 144fps. In addition, the HTTPS protocol in the Web RCS user interface provides secured connections to the LivePremier systems allowing SSL/TLS certificates and keys to be uploaded and applied to the system. Lastly, the LivePremier systems can now be operated by the RC400T three-axis joystick for layer positioning, sizing and cropping. www.analogway.com

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NewTek updates TriCaster platform NEWTEK HAS added the TriCaster 1 Pro to its portfolio of live video production solutions. The TriCaster 1 Pro is a streamlined TriCaster model with support for 4K UHD video switching, livestreaming, recording, data-driven graphics, virtual sets and media publishing. Alongside its release, NewTek’s TriCaster 2 Elite, the company’s flagship model, has been bolstered with additional features, including selectable audio and video returns and NDI Genlock. Both TriCaster models now offer the latest version of Live Call Connect, enabling the integration of popular video communication

applications as video inputs. In addition, producers can turn any mobile device into a live production camera by using the NDI TriCaster Camera App, which is freely available for Android and iOS devices. Using AI, TriCaster 1 Pro and TriCaster 2 Elite seek to maintain production quality by cancelling or reducing background noise from any source. The tool automatically detects voices and cleans up the audio using the Neural Voice Isolation tool, meaning remote callers in loud environments can be more clearly heard. www.newtek.com

Q-SYS reveals Next-Gen video and control models THE Q-SYS platform has been extended by QSC with the availability of the NC Series of network conference cameras and TSC Series Gen 3 network touchscreen controllers. Primarily designed for collaboration spaces, the scalable products are native to the Q-SYS OS for seamlessly integrating with any Q-SYS system. The Q-SYS NC Series includes three sizes of camera models. The NC-110 is the first fixed-lens, ePTZ camera available for the range, for smaller, wider rooms. Featuring a 110° horizontal field-of-view (hFOV) with digital zoom capabilities, the NC-12x80 (12x optical zoom, 80° hFOV) and NC-20x60 (20x optical zoom, 60° hFOV) models both offer motorised PTZ functionality. All three cameras include hardware for mounting above or below displays.

NC and TSC Series Any number of Q-SYS IP camera streams are allowed on the network, while decoding, scaling and bridging to the host PC with a Q-SYS USB-enabled edge device bypasses the need for programming or video matrix hardware. A consolidated AV stream

is delivered to any videoconferencing application, including MS Teams Rooms, Zoom Rooms or Google Meet via USB connection. A sleek redesign to the Q-SYS TSC Series Gen 3 touchscreens now provides

AV&C controls for any space. Available in three sizes, the TSC-50-G3 (5-inch), TSC-70-G3 (7-inch) and TSC-101-G3 (10.1-inch) feature increased resolution with improved screen transitions and integrated ambient light sensors for brightness. In addition, the 7- and 10-inch models offer customisable RGB LED status to indicate call or mute status and roomin-use, in addition to proximity sensors that waken the screens on approach. The user control interfaces (UCIs) can be customised with a unique drag-and-drop UCI Editor within the Q-SYS Designer software for building UCIs, DSP and control programming. www.qsc.com

Hall adds to Genesis Digital Matrix line THE LATEST product offering from Hall Technologies is a 4x4 matrix switcher in a compact 1U enclosure that is being billed as a simple and affordable option for multimedia presentations and digital signage in houses of worship. Becoming the latest member of the Genesis Digital Matrix series, the HSM-44-UHD supports HDMI resolutions up to 4K@60Hz (4:4:4). It also supports HDCP 2.2 and 1.4, 3D, deep-colour and PCM, Dolby, DTS and

HD audio standards. Users can save and recall multiple matrix routing configuration presets from the front LCD panel display, while the matrix also intelligently calculates EDID for each input based on the EDID of the connected sinks. The matrix includes a twoline character LCD on its front panel to display the current video routing and to facilitate creating or recalling presets. www.halltechav.com

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PRODUCTS

MX evolves for the hybrid world WITH THE infrastructure supporting live events gradually shifting from SDI video to IP networks, Broadcast Pix’s MX Hybrid production solution allows users to integrate a blend of SDI, HDMI and IP video sources to serve an increasingly hybrid world. The MX Hybrid provides eight network/ IP inputs alongside three SDI (HD and 4K) and one HDMI/SDI/analogue input. Four

programme (two SDI and two NDI) and aux assignable outputs are also onboard, while six keyers are available for DVEs and chromakey. The device is capable of built-in streaming, recording and audio mixing with hardware that fully supports 1080p/60 and 4K video resolution. The device also supports remote “browser-based” operation with GuestPix

remote guest integration as well as chat and intercom functionality, and provides what is described as an easy-to-use interface. Enhanced macros automate

repetitive tasks to ensure consistency of production.

DESCRIBING IT as the world’s first single-chip native 4K simulation projector, Barco has unveiled the F400-HR. A native 4096x2176 resolution projector, it promises pixel-shift and dynamic resolution capabilities that reportedly allow content to be lifted beyond 4K, to 6K resolutions or higher. In order to create a fully immersive

training environment, the visual aspect must not only be operating in real time but also occupy as much visual space as possible. The F400-HR’s attributes mean that the projector can scale images further without losing detail, aiding in the construction of larger and more immersive simulation suite setups. Designed specifically for NVG simulation applications, the purpose-built FS400-HR adds a dedicated IR light source that allows for individual control of visible light and IR intensity, with continuous dimming for training scenarios at any time of day. Satisfying the need for speed, the F400-HR is capable of processing at up to 240Hz at native 4K. The Belgian manufacturer promised that this doesn’t negatively affect

the visual quality, which follows high-speed action at “minimal” latency. This makes the projector suitable for demanding applications, including fast jet or motorsport simulators. The unit’s laser light source creates speckle-free images with a focus on colour, high brightness and a long life span. Barco’s proprietary Constant Light Output (CLO) process guarantees linear brightness performance over a set time for predictability. With limited energy consumption and a lifetime of up to 50,000 hours without the need for maintenance, the projector also ensures a minimal total cost of ownership (TCO). The F400-HR is also compatible with all current Barco FLD-type lenses, preserving past investments when updating. The F400-HR benefits from the nextgeneration proprietary Pulse platform, which possesses a high bandwidth software

architecture that enables multiple advanced processing operations, such as geometry correction, warping and blending and pixelshifting – in a single step. This ensures the lowest latency, a major advantage in the simulator domain. Barco Pulse also features an expansion port for optional modules to increase the range of standard inputs, and an API that allows partners to integrate custom management tools and value-added features to complement the software. Lastly, and because of the unique nature of simulation environments that often feature complex motion platforms and rapid sudden movement, the F400-HR is fully rated for shock and vibration, as the electronics, hardware and software are built around a unique H-beam-shaped aluminium core.

Barco’s F400-HR brings speed and clarity to training simulations

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Fireface UCX II 40-Channel 192 kHz, Advanced USB Audio Interface

The latest RME pro audio solution in an ultra-compact format for studio or live recordings. With up to 40 channels for record & playback, SteadyClock FS, high performance microphone inputs, Parametric EQ, Dynamics processing, Echo, Reverb, Direct USB Recording, MIDI I/O, a powerful headphone output and full stand-alone operation the Fireface UCX II excels with the highest feature to space ratio ever.

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PRODUCTS

ETC focuses on accessories and updates

Wireless uplighting is no optical illusion

WITH THE availability of the F-Drive accessory, ETC is aiming to ease installation and increase compatibility with third-party LED fixtures. Designed as a centralised solution for controlling LED luminaires, the B-Box4 uses the RJ45 output of an F-Drive card to position up to four channels of Molex, terminal or RJ45 connections at any location. With the addition of B-Box, the F-Drive LED power system enhances flexibility by using third-party or ETC-manufactured fixtures and simplifies the wiring connection to the F-Drive unit. Available as an R12 rack-mounted or a W1 wall-mounted solution, F-Drive provides access to swappable driver cards and power supplies with critical components made accessible for maintenance and updates. ETC has also made two software updates available. With the release of Eos v3.1, customisation of the Eos lighting controllers is enhanced to suit any programming style or show. A new icon library adds images to both Direct Selects and Magic Sheets for immediately identifying targets. Custom encoder layouts can be created with the addition of Encoder Maps for all fixture types using a dedicated editor. Show control triggers are now monitored with a new

FEATURING SIX IP65-rated, batterypowered and wirelessly controllable LED PAR fixtures, ADJ has launched the Mirage Q6 PAK wireless uplighting system. The package includes a purpose-built charging road case, long-life batteries, long-range wireless receivers and an anti-theft alarm. Each individual Mirage Q IP fixture incorporates four 10W four-in-one RGBA colour-mixing LEDs, which combine to create a wash of coloured light with an 11° beam angle. By varying the intensity of the independent red, green, blue and amber elements within each LED, the fixture generates a wide variety of saturated colours. In addition to full colour-mixing control, the unit also features 64 built-in colour macros to aid with quick programming, in addition to 13 pre-programmed chase patterns to allow for easy setup when required. An 11,000mAh capacity internal lithium-ion battery provides up to 40 hours of operation from a single charge (20 hours with changing colours) and takes seven hours to recharge to full capacity. The fixture is further equipped with a built-in ADJ WiFLY EXR wireless DMX transceiver with a range of up to 760m. Requiring no cabled connections for power or control, the device is also equipped with an infrared sensor which can be used with either ADJ’s UC-IR remote control or the Airstream IR to quickly select colour macros and pre-programmed chase patterns. The base contains a large backlit control panel with four corresponding selection buttons, providing access to a menu system that can be used for DMX addressing, setting up standalone operation and for other operational options. Finished in reflective chrome, the waterproof IP65-rated fixture

F-Drive B-Box Timecode dropdown in the top bar of each display to depict the console’s interactions with other devices. A Hog 4OS v3.17 release focuses on improving cue lists and scenes, plots, playback and programming. Four user fields can be added to a master window for lists/ scenes. The options window for a list or scene can be opened from the list and scene directories by holding the pig and open keys when selecting a directory cell. www.etcconnect.com

Hog 4OS v3.17

has been designed to blend into any venue or stage set regardless of décor. A retractable handle folds out from the top of the unit for carrying and integral feet allow it to sit directly on the ground for setup, creating effective uplighting of walls and backdrops. A built-in kickstand can be used to angle the fixture in towards a wall for a tighter beam. Furthermore, a mounting point on the rear of the fixture can be used as a hanging bracket for suspension from a truss for downlighting. Measuring 143mm x 143mm x 211mm (LxWxH) and weighing 2.8kg, the Mirage Q IP has been designed for portability. The fixtures are supplied in sets of six with a custom-designed, heavy-duty road case featuring separate padded compartments for each of the six units, additional space for cables and accessories. www.adj.com

www.elationlighting.com

100 PRO AVL ASIA March–April 2022

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strobe LED dots. Flanking the Rayzor lenses across the entire length of the fixture, these dual strobe arrays offer a large number of integrated FX and precise pixel control from the lighting console. With a wide zoom range from 5–45°, the Proteus Rayzor Edge and Proteus Rayzor Blade are said to provide well-defined mid-air beams and light curtains up to 12,500 lumens, as well as a wide and even wash coverage, making them suitable for stage washes, mid-air effects or audience blinders, even in adverse outdoor conditions. Proteus Rayzor Edge

Elation gets creative PART OF the manufacturer’s Proteus range of outdoor luminaires, the Proteus Rayzor Edge and Proteus Rayzor Blade from Elation are driven by six or 12 independently controlled 60W RGBW LEDs. The oversized front lenses create a large visual surface on the fixture that is enhanced by the manufacturer’s patent-pending SparkLED technology. SparkLED consists of individual white LEDs strategically placed inside the lens itself to create an additional layer, allowing designers access to new ways of creating interest onstage. In addition, the fixtures emphasise the RGBW lenses with two high-intensity strobe lines with a total of up to 256 cool white

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Chauvet sparkles in the rain DESIGNED FOR outdoor lighting setups, Chauvet Professional has released the onAir IP65 all-weather fixtures. Incorporating ±green adjustment and emulated red-shift control via CRMX wireless control and DMX, all three soft light LED panels have a 90+ CRI and TM-30 score. The largest of the three, the onAir IP Panel 2, is a 2x1 format, 372W panel that delivers 23,000 peak lumens. The 200W onAir IP Panel 1 is a 1x1 format panel providing 12,000 peak lumens and the 49W onAir IP Panel Min with a removable PSU produces over 2,500 peak lumens. Drop-in access speeds up the swapping of diffusion and intensifier filters without

tools, saving time when changing beam shapers. The panels use either a pin mount or truss clamp during setup and offer a direct 28V connection. Remote Device Management (RDM) and CRMX Wireless Control provide added flexibility. Designed to be easily dismantled, the onAir IP Panel 2 and IP Panel 1 fixtures come with integrated handles. The onAir IP series can output nearly any colour in the visible colour space, while delivering a bright output and precise colour temperature replication. Presets are available for colour adjustments with physical preset buttons included on the onAir IP Panel 2 and IP Panel 1 for

setting specific colour temperatures and storing and recalling custom colour temperatures and effects. A USB port has been integrated for software updates and onboard control. The panels can also be controlled via integrated CRMX wireless, Art-Net and sACN networking, in addition to a fivepin DMX. www.chauvetprofessional.com

Huracán season continues for Ayrton DESIGNED SPECIFICALLY for large venues, Ayrton has developed its latest range of long-throw fixtures. A 225mm front lens forms part of the optical system of 13 lenses delivering a 15:1 zoom ratio and a zoom range of 3.5–53°. The 1,000W LED Huracán LT delivers a light output of 51,000 lumens at a colour temperature of 6,700K, with a CRI greater than 70. Generating an ultra-intense beam, a removable diffusion filter erases the edge of the beam without changing its angle over the longest throw distances.

Adopting the same colour-mixing system as the Huracán Profile, the Huracán LT integrates a triple variable colour temperature corrector (CTB, CTO and CTP) that allows adjustment from 2,700–15,000K. There is also a fixed colour wheel with six complementary colours. For precise framing of any object regardless of the luminaire’s position, a framing section promotes the positioning of four shutter blades on a 100% surface area in all positions. The effects section includes two superimposed rotating gobo wheels,

each with seven HD glass gobos, a monochromatic multi-position effects wheel and a multi-layer CMY RGB wheel for unique multi-colour effects. Optical tools designed for beam shaping include two combinable image-multiplying rotating prisms, a 15-blade iris diaphragm and two frosts. An electronic dimmer provides flicker-free light adjustment from 0–100% without colour variation. www.ayrton.eu

All wash, no water with GLP WITH THE launch of the impression X5 IP Bar, GLP has developed an IP65-rated batten fixture featuring 18 40W RGBL LEDs and a 12:1 zoom range from 5–60°. The squared lens design creates a curtain of light at its narrowest angle and delivers homogenous washes to its widest beam. Features include selectable calibrated white points, a tungsten simulation channel, magenta/green correction, virtual colour wheel and variable CTC, together with twin layer effects including dynamic pattern macros. Both wired and wireless control are included as standard. The impression X5 washlight represents a new generation of LED automated washlights. Incorporating 19 40W RGBL LEDs, GLP’s new iQ.Gamut calibration

algorithm creates clean white points with CRI 90 at 6,500K. Calibrated exactly to the black body line, the impression X5 washlight can instantly switch to other fixed colour temperatures. Offering a 17:1 range from 3.5–60°, the washlight is distinctive by its circular front face design offering full pixel mapping with geometric patterns. Features include a virtual colour wheel with referenced LEE Filters, a colour quality control, magenta/green correction, a tungsten emulation channel with multiple simulations and a double layer effect option. Designed during the pandemic lockdown, the JDC Line 500 and JDC Line 1000 strobes offer a bright RGB pixel-mapping effect mixed by a special lens tube.

Sustainable lighting THE T11 luminaire is a static fixture from Robe, available in Profile, Fresnel and PC versions, and designed as a three-in-one solution in a single fixture for a more sustainable future. The MSL-TE 350W LED engine generates 16,760 lumens, giving 9,500 lumens from the T11 Profile, 9,600 lumens out of the T11 Fresnel and 9,400 lumens for the T11 PC. The T11 builds on the manufacturer’s MSL (Multi-Spectral Light) colour ideas and TE (Transferable Engine) technology, first developed to enable different and interchangeable LED engines in the same fixture hardware.

T11 PC

Featuring a 25mm pixel pitch, each pixel segment can be split into upper and lower parts. The second section of the fixture is a white light strobe, whose LEDs emit through the same lens tube as the RGB sources with the same level of pixel control.

impression X5 IP Bar

www.glp.de

A rapid-change front lens system transforms the T11 into the Profile, Fresnel or PC variants. High-definition optics are said to deliver accurate projection and beam control, with a 10:1 ratio and 5–50° zoom from the T11 Profile unit’s single, integral lens tube. The T11 Fresnel offers a Fresnel-style beam, while the PC version has a soft-edged PC beam, both with a 5–60° zoom. Other features include a virtually controlled CCT range of

2,700–8,000K, high TLCI and TM30-18 ratings and a CRI of 95+. The T11 Profile’s manual shuttering system is described as accurate and easy to use and, in the Fresnel version, it functions as an internal barn door. Integral to the T11 Profile is a manual 1° MagFrost (Magnetic Paddle System) for softening, an optional 5° and other frosts available. The T11 PC and T11 Fresnel fixtures have a 5° MagFrost as standard, plus a range of optional frosts. www.robe.cz

March–April 2022 PRO AVL ASIA 101

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BUSINESS: ANALYSIS

Going live Neumann CEO Ralf Oehl explains how the company’s new Miniature Clip Microphone (MCM) system is set to conquer new markets for the German manufacturer by a mic clip. The Neumann solution is respectful of the instrument and sits perfectly without moving. The Neumann development team really started from scratch. The current electret solutions were lacking a natural sound signature and consistency. Without going into too much technical detail, we tried to transfer everything we had learnt in true condenser microphone technology – and in particular from our small-diaphragm KM series – to the electret field. You could say that the MCM combines the electret principle with 90 years of experience in

Neumann CEO Ralf Oehl FOR MORE THAN 90 YEARS, NEUMANN’S reputation has been based on reference microphones for recording, particularly in the studio environment. During that time, we have found true condenser microphones to be the superior solution for the exacting demands of our professional customers. Over the past few years, however, more and more customers – producers, audio engineers and artists – have been requesting a more compact solution from Neumann: microphones that work in the live environment. Microphones that are smaller and can be positioned closer to an instrument. What they wanted was the Neumann sound they knew from the studio but in a compact clip mic system for the live stage. So, about six or seven years ago, Neumann engineers started exploring whether it would be possible to further reduce the size of our true condenser technology to suit this application. But it quickly became obvious that the need for phantom powering would not allow such a small, lightweight capsule solution to work with wireless transmitters and that, on the other hand, a lower supply voltage would result in a considerable decrease in signal quality. We therefore turned to electret technology. We had never been particular fans of this technology, as it has a few downsides. But we decided to reinvent electret technology, giving it consistency and the typical Neumann sound. This is when the whole journey started. It was not so much a deliberate venture into new territory than an answer to many customer requests. We certainly had a lot of respect for the live market: it meant that besides providing superior sound, we had to tick a few more boxes. Products for this market need to be rugged, and ideally should support all existing wireless solutions. It’s also a matter of providing the right clamps and fixtures for expensive instruments, as well as modularity and ease of use. We had to master many new topics, and are fortunate to have close ties to our mother company Sennheiser, whose engineers have a lot of expertise in demanding live environments and shared it with us as a basis for our new development.

The MCM mic clips are respectful of the instrument The resulting clip microphone is a big step for Neumann. It features an entirely new capsule technology and has a solid focus on mechanics and accessories. In the design process, we took the time it needed to create a solution for the live sector. We took new paths and have learnt a lot in the process. Rental and event companies will be among our customers, as will theatres, concert venues and music production companies, and also sound engineers and instrumentalists, orchestras – especially the brass and strings sections – and big bands. For rental and production companies, return on investment also plays an important role, and the Neumann MCM delivers on that, too. In the design of the Neumann MCM, our development engineers paid special attention to sound consistency. The feedback we got from field tests has been overwhelming – not only did the mic sound fantastic, everybody was amazed that they needed very little, if any, EQ. The mic picked up the instrument and the sound could be used 1:1 without requiring adjustment. Another gap that we saw and closed was modularity. When something breaks on other models, you need to throw away the entire microphone. Therefore, the MCM and all its accessories are modular. If something should break, you just need to replace the cable or the clip. So even if the Neumann solution is a bit more expensive, this investment will quickly pay off. To round things off, we put a lot of effort into the mic clips. Instruments are valuable, and the last thing an artist wants is to get the instrument body scratched

manufacturing world-class true condenser mics. The capsule does not look like a typical electret capsule but rather has the aesthetics of a miniature KM capsule. The MCM has a typical Neumann layered design with many individual components. This ensured that we could optimise these components individually and independent of each other. Manufacturing and assembling these components is very demanding, but our production team have excellent mastery of the required techniques, and is supported by an exacting quality control. The MCM will be available globally through the Sennheiser sales network from the end of April, but it has already created a lot of buzz in the industry, with customers testing the microphone intensively over the past months. Their feedback has been overwhelmingly positive. In December, we outfitted some orchestras with prototypes, and the mics were also used on The Voice USA and the Harry Potter Ciné-concert tour in France, with FOH engineer Sylvain Denis commenting: “I enjoyed the smoothness of the sound, having hardly any EQing to do and no feeling of proximity.” We started the pre-order phase for the MCM in mid-January and, by the beginning of February, the expected launch quantities had already doubled. On availability, the mic system can also be rented out from leading rental companies who are excited to offer electret instrument mics with Neumann sound that will work with any wireless solution. The clips and clamps are superior, and the mic itself has a titanium housing, is superrugged and can be used in tropical regions. What they are also thrilled about is the modular design of the Neumann solution which will help them increase their ROI. Everybody is really excited about this first Neumann electret microphone solution – and we are, too. www.neumann.com

102 PRO AVL ASIA March–April 2022

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Re-defining durability in professional audio products, the IS-Series Weatherized delivers pristine audio in every extreme environmental condition. With full corrosion resistance and an IP55 rating, a long lifespan is ensured. Visit: ADAMSONSYSTEMS.COM

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U N LO C K T H E A R T I N A U D I O W I T H L- I S A S T U D I O Put the power of mixing and creating immersive sound anywhere - at your fingertips - with L-ISA Studio software suite. Made for speakers or headphones with binaural monitoring, L-ISA Studio can process 96 inputs and 12 outputs. Developed to improve the workflow and unleash the creative potential of concert-proven L-ISA technology, it seamlessly interfaces with leading digital audio workstations and show control software. Download and start creating. More information on www.l-isa-immersive.com

www.l-acoustics.com

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