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martin-audio.com
An enjoyable challenge while putting together each issue of Pro AVL Asia is getting the balance right, presenting the best possible combination of regions, vertical markets and industry innovation. Now that international travel is well and truly back on the agenda, it’s certainly easier to pull this off, though remote content creation still features large, allowing us to report in full on projects we haven’t managed to visit.
I think our hardworking team has managed a particularly good balancing act in this issue, with news and indepth features demonstrating diverse AV applications from across APAC. These include our cover feature, which dives into Korea’s multipurpose Inspire Arena (p50), a mega meditation hall in India that’s enjoying improved speech
intelligibility thanks to a d&b system (p44), the AV and VR solutions providing a distinctive learning experience for medical students at the Australian Catholic University (p56), a new performing arts centre in Shanghai (p54) and a world-class recording studio in Thailand (p48).
Of course, the NAMM and ISE shows both also served as reminders of what a truly global industry this is. It was wonderful to catch up with so many people from across APAC and hear about installations and events happening around the region. And with Richard away on another whistlestop tour of APAC, and tradeshow visits to China and India looming for Sue and I, expect more content from across the region in upcoming issues.
Audio technology companies d&b audiotechnik and L-Acoustics have joined forces in a new collaboration that aims to advance technologies and tools for the benefit of the industry.
The first stage of this alliance is a project that will see the two companies jointly develop a software platform, designed to “revolutionise” the configuration and management of Milan AVB networks.
Born from the companies’ shared commitment within the Avnu Alliance, the new software platform addresses some of the challenges that currently discourage widespread adoption of Milan AVB technology. The software will be a neutral and free-to-use solution that eliminates any branding affiliations to help further foster universal acceptance.
While d&b audiotechnik and L-Acoustics lead the initial development, the project actively encourages additional contributors, emphasising inclusivity and collective industry advancement.
L-Acoustics and d&b audiotechnik are also collaborating with SoundPLAN on the key issue of noise impact, working to define an exchange format between professional audio manufacturers’ software and environmental noise simulation software.
“Our two companies each have individual value propositions for our customers, and we will continue to enjoy healthy
brought together sound enthusiasts, engineers, AV technicians and systems designers from Manila and the surrounding area. The event drew in a total of 124 attendees.
The first day of the seminars covered a variety of topics, with a spotlight on Yamaha’s DM3 series compact digital mixers and the TF series multipurpose digital mixers. Rico Bicol and Tony Sawyer delved into topics such as mixing for churches and sub-array setup and tuning, respectively.
Day two kicked off with an exploration of Dante, followed by a presentation on Yamaha’s DM7 series. The day concluded with a session by Andrew Anderson on live mixing techniques.
main controls, menus, functions and real-world use cases. The sessions also addressed troubleshooting and common issues encountered during live shows and preparation stages. Participants were encouraged to bring their own devices, such as PCs and iPads for direct connections with the equipment. This interactive approach aimed to solve potential problems related to misunderstanding or missing information.
The feedback from attendees was positive.
Both days also featured speaker shootout sessions, allowing attendees to compare the Yamaha DBR and DZR series.
Attendees were treated to a hands-on experience, with the seminars showcasing
flows, reflecting the audience’s keen interest in technological advancements in the sound industry.
www.yamaha.com/proaudio
In a strategic move to redefine its presence in the pro audio industry, Cadac has announced that it is dividing into two distinct, independent business units, reflecting the current evolution of its product development activities – Cadac Consoles and Cadac Immersive.
Cadac Consoles’ product development and sales and brand management will remain UK-based. The business will rebrand under a new logo and corporate identity, with a renewed product offering – the CM-Series.
James Godbehear, director of marketing and business operations, Cadac Consoles, said: “While we have kept a very low profile throughout the tumult of recent years, behind the cloak of silence we have been solely focused on developing our next-generation mixing system – a development that stays true to our core values of a nocompromise audio first design, coupled with a powerful but highly intuitive and uncomplicated GUI for control of some very complex functionality.”
“With the creation of the Cadac Immersive division and the additional available R&D resources,” said Emily Watson, head of R&D, “we are actively exploring the possibilities of integrating immersive technology into the CM System and the exciting potential of object-based mixing. This would open up huge creative opportunities for the sound engineer with this fascinating approach to mixing.”
Cadac Immersive, headquartered at its Beijing R&D facility, will focus on marketing its range of proprietary standalone immersive audio products, aiming to cater to the growing demand for immersive and 3D audio experiences across theatre, fixed installation and cinema applications.
Godbehear added: “This strategic rebranding reflects Cadac’s commitment to staying at the forefront of audio innovation and responding to the evolving needs of the industry. It is testament to our dedication to pushing the boundaries of audio technology and delivering products that empower creativity. The Cadac Consoles and Cadac Immersive business units will collectively contribute to help shape the future of professional audio, providing unparalleled solutions for audio-driven applications worldwide.”
www.cadac-sound.com
HD 490 PRO
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Nestled in the heart of Mumbai at Nesco Centre in Goregaon, Meyer Sound, in collaboration with its distributor Sun Infonet, orchestrated a comprehensive three-day educational event entitled “Listen, Lunch and Learn – Portable System Deployment”. The primary objective was to present Meyer Sound’s audio solutions to industry professionals while imparting essential training to engineers and technicians, enabling them to adeptly deploy these systems across diverse scenarios. The event strategically catered to a niche audience, including systems integrators, consultants, design engineers and audio professionals. Attendees were treated to first-hand experiences with Meyer Sound’s latest innovations, notably the ULTRA-X20 loudspeakers and USW-112P subwoofers. The event’s showcase also featured Meyer Sound’s ULTRA-X40 loudspeakers with 900-LFC compact low-frequency control elements, accompanied by a line-up of six ground-stacked LINA loudspeakers, as well as the 2100-LFC low-frequency control elements. The spatial sound design and mixing tool, Spacemap Go, complemented the system.
Nureva has joined the Q-SYS Technology Partner Program. The programme aims to enable technology companies to create solutions that integrate with Q-SYS, the cloud-manageable audio, video and control platform. Nureva has developed a Q-SYS-certified plugin for its HDL310 and HDL410 audio conferencing systems – also known as the HDL pro series – to deliver audio control that is designed to enhance and simplify the remote experience.
“We are delighted to be a member of the Q-SYS Technology Partner Program with a Q-SYS-certified plugin that integrates with the audio systems in our HDL pro series,” said Nancy Knowlton, Nureva’s CEO. “This will open the door to broader deployments by our mutual customers to deliver the enhanced audio and video experience essential for effective collaboration.”
Magewell has also joined the Q-SYS Technology Partner Program. The first result of the initiative – the Q-SYS Control plugin for Magewell’s USB Fusion video capture, mixing and presentation device – has been endorsed with Q-SYS Certified status and is now available for download through the Q-SYS Designer Asset Manager found in Q-SYS Designer Software.
www.magewell.com
www.nureva.com
www.qsys.com
Post-lunch, the session, led by Meyer Sound’s technical services manager for Latin America, Oscar Barrientos, delved into a comprehensive training on the
A day was allocated to the topic of “Portable System Deployment Fundamentals,” led by Barrientos. This session offered participants knowledge that was crucial for accurate deployment of portable live sound systems, covering critical aspects such as networked audio and sound system monitoring. The goal of the training session was to provide attendees with a practical understanding of the entire process, from initial system design to final verification. All concepts were elucidated using Meyer Sound solutions, including loudspeakers, rigging hardware, the MAPP 3D System Design Tool, Galileo GALAXY Network Platform, Compass Control Software, Nebra Connectivity and Monitoring Tool, AVB Milan networking and FFTbased transfer-function analysers. The sessions are said to have concluded with appreciative remarks from attendees. Following on from the successful event, Meyer Sound and Sun Infonet hope to replicate this initiative in Bangalore.
www.meyersound.com
www.suninfonet.net
an expansion of its leadership in APAC to better align with market needs and best position itself for success in 2024 and into the future. With significant growth in sales and team size, the company will divide the APAC region into two separate teams – Asia and Oceania – reflecting its commitment to a full-service presence in Australia, enhancing customer relationships through more focused and direct sales and support services.
Chris Johnson has been promoted to the role of director Oceania, overseeing Australia, New Zealand and surrounding countries. With almost two decades of experience in broadcast and live events, Johnson joined Riedel in 2016.
“We’re really proud of what we’ve been able to accomplish so far in Australia and New Zealand,” said Johnson. “Our success is the result of a great team and our decision as a company to work locally and be close to our customers. We believe that close customer relationships are critical, especially
undergoing so much technological evolution. Having truly local technical support, service and operations allows us to further improve our full-service offering across both our product and managed technology divisions throughout Oceania.”
To bolster the product division business in the region, Erik Miehs will assume the role of regional sales director. With close to a decade of experience at Riedel, Miehs brings technical and managerial knowledge to his new position, having previously served as the Europe system consulting manager and most recently as sales manager ANZ.
“I’m proud to be playing a part in writing the next chapter in Riedel’s strong 15-year history in Australia and New Zealand,” said Miehs. “I’m thrilled to take on the new role and continue our team’s expansion in the Oceania region.”
Guillaume Mauffrey will continue to lead Riedel’s Asian business units as sales director Asia, with an increased focus on developing major markets such as China,
on a strong management team of regional general managers, with Peter Chen (China), Vincent Lambert (Japan) and Marion Dimayuga (Southeast Asia).
“Our new organisational structure reflects the massive growth we’ve seen in both Asia and Oceania,” said Daniel Url, CCO, product division. “We are very pleased that we can entrust two very experienced colleagues, Chris and Guillaume, with leading these important regions. Asia remains in good hands with Guillaume, whose leadership has already had a great impact on the region and our growing teams in Tokyo, Singapore and Beijing. In ANZ, we are building on a well-established and well-attuned team that has been exceeding customers’ expectations under Chris’s leadership – and is sure to continue doing so with Erik at the helm. With this organisational change, both regions can continue their path to success with increased focus.”
www.riedel.net
Together, we look forward to delivering exceptional value to our customers
We are thrilled to announce our official partnership with REDMOUSE (www.red-mouse.com), who will be responsible for sales, marketing, and customer relations for TAIDEN products in Turkey.
Ragam Pro AVL has upgraded to a DiGiCo Quantum 225, becoming the first rental company in India to have one in its inventory.
With a reputation for delivering first-class events, Ragam Pro AVL upgraded its audio inventory following the introduction of the Quantum 338 and 225 to the Indian market via DiGiCo distributor, Hi-Tech Audio & Image. Biju KV of Ragam Pro AVL commented: “Azhar Meem from AVL Marketing, Kerala, the dealer partner of Hi-Tech Audio & Image, told us about the powerful Quantum 225 that incorporates all the new design features of the Quantum 338 but in a compact, robust work surface and we knew it would be perfect for us.”
To allay any concerns from the Ragam Pro AVL team, Meem connected them with sound engineers who had worked with the Quantum 225 console in Europe.
“Their feedback about it was extremely positive and they were happy with its upgraded features,” he said. “Hearing this, Biju was confident to invest in the console. Furthermore, the support provided by Rajan Gupta and Nirdosh Aggarwal of Hi-Tech Audio & Image confirmed their choice.”
Rajan Gupta, CEO/founder of HiTech Audio & Image, noted that the combination of DiGiCo’s technical abilities and support played a pivotal role in converting prospects to clients: “From the S and SD Series, and now the Quantum 225, DiGiCo has put a tonne of power and versatility into a compact work surface. The Quantum 225 is definitely a rider-friendly solution for Ragam Pro AVL.”
Being the first DiGiCo Quantum 225 in India, hands-on training was immediately planned. DiGiCo application engineer, Piyush Joshi, shared his experience with conducting well-structured training for Ragam Pro AVL’s team.
“The Quantum 225 is the bestpackaged beast in the industry, with such efficient technology,” he concluded. “What impresses me most is that after all these extraordinary added features, operating the console is a breeze, and switching between the SD and Quantum ranges is seamless. Ragam’s choice of acquiring a Quantum 225 with MQ-Rack has given them the latest platform of digital audio protocols. The MQ-Rack has set yet another benchmark in terms of AD/DA converters on the MADI protocol and it sounds absolutely phenomenal.”
www.digico.biz
Already an established provider of digital enablement solutions globally, with a large presence in the APAC region with six offices across India, Singapore and Hong Kong, AVI-SPL
Brian Fallon, managing director of AVI-SPL APAC, said: “Our mission in Japan is to build stronger connections with local businesses and provide them
with unparalleled service. We’re dedicated to contributing to the growth and success of our customers in Japan.”
AVI-SPL Japan is a natural extension of the AVI-SPL global brand, aligned with its global service standards and way of doing business. And with collaborations with technology and financial customers already in place, AVI-SPL hopes to expand its business locally by servicing growing industries in Japan, including healthcare, life sciences, renewable energy and fintech. While currently offering live customer support and managed services from the Kyoto area, AVI-SPL plans to expand its resources in the region.
www.avispl.com
TVU Networks has analysed usage data across thousands of users of its products from the past year to identify major trends in its yearly reporting of the industry. Key findings include the fact that AI-driven use is being adopted more regularly and frequently, remote production applications continue to be relied upon for coverage and 5G use for video transmission reached a milestone.
In 2022, video ingest saw a significant leap across news, entertainment and sporting events. Not only has usage continued in 2023, but the number of daily interactions associated with TVU Search by users has also increased dramatically by 1,200% over the past year.
TVU Search is a cloud-native application that provides live video content ingest and discovery. It features content search capabilities based on advanced AI algorithms and automation, allowing users to locate live or archival feeds or clips for immediate playout, download or distribution.
“The robust daily use of TVU Search suggests that the use of AI for rapid content identification and clipping is becoming an acceptable part of everyday use such as for story creation,” said Paul Shen, CEO, TVU Networks. “We introduced TVU Search with AI a few years ago based on our customers needing a faster, easier and more efficient way of locating relevant content for coverage. It’s now an integral part of the cloud-based TVU ecosystem for live production.” Tools designed for remote production also continued to be popular for broadcast enterprises this past year. TVU’s cloud-based ecosystem for video coverage of news, events and other live applications saw a rise in overall use, including for content acquisition and production compared to the prior year.
“We have seen the strong trend of broadcasters transitioning to cloud-based remote production workflows which started a few years ago, and it continued throughout 2023,” said Shen. “With viewer media consumption habits constantly changing, the need for scalable, cost-effective, fast deployment and easy-to-use tools is at the top of everyone’s media supply chain wish list going into next year.”
www.tvunetworks.com
www.datapath.co.uk
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Ahmedabad-based audio, video and lighting rental company LED Solutions has recently acquired 16 DAS Audio Event-212A and 12 Event-218A loudspeakers to add to its existing portfolio. The purchase was made through local distributor StageMix Technologies. “We are happy to welcome LED Solutions
Ahmedabad to the DAS Audio family,” said Karan Nagpal, director of StageMix. “They have made a reputation as a rental company that consistently invests in new and innovative gear, and we look forward to supporting them in their mission of providing premier systems to their customers.”
DAS Audio’s Event Series loudspeakers have reportedly become a go-to for professionals in India seeking reliable sound solutions for concerts, events and conferences, rising in prominence due to their mix of sound quality, user-friendliness and performance characteristics.
The Event-212 cabinet is a powered, three-way line array system designed for featuring dual 18-inch drivers that utilises LX series long-excursion transducers that www.dasaudio.com www.stagemix.com
Xilica and Yamaha Unified Communications have announced a solutions partnership designed to simplify the installation and deployment of ceiling audio systems in medium and large collaboration spaces. The joint room solution focuses on integration between the Xilica ecosystem of processors, speakers and control and Yamaha’s Adecia RM-CG ceiling-mounted microphone array, which provides coverage for rooms up to 56m 2
Resellers looking to deploy Yamaha’s Adecia RM-CG system in larger rooms now have pre-built integration with Xilica’s digital signal processing. In future, Xilica will enable its Follow Me automated voice-based camera tracking functionality for the Yamaha ADECIA RM-CG integration that enables voice-triggered PTZ camera control from any VISCA-based PTZ camera, including models from Aver, Canon, Sony, Lumens and others. Xilica and Yamaha’s system solution incorporates the Xilica Solaro QR1-UC and
enterprise electrical safety testing. The brands join the Audio Reproduction division of the Focusrite Group alongside Martin Audio, Optimal Audio and Linea Research.
Founded in 2001 by Robin Whittaker and David Haydon, OutBoard creates entertainment
technology solutions for live performances, event management and immersive sound experiences. TiMax audio and show control technologies, including Soundhub and Tracker D4 products, are frequently used for Broadway and West End theatre shows, and it is anticipated there will be many opportunities to collaborate with sister Focusrite brand, Martin Audio.
“The acquisition of OutBoard represents another strategic expansion within our Audio Reproduction business, enhancing our product range and market reach,” commented Focusrite CEO, Tim Carroll. “OutBoard’s innovative products, such as TiMax spatial audio and show control, align perfectly with our mission to deliver exceptional audio experiences within live environments. We are looking forward to integrating OutBoard’s technologies and exploring new opportunities in this segment of the rapidly evolving audio industry.”
www.focusriteplc.com
www.outboard.co.uk
www.timaxspatial.com
the Xilica Sonia ceiling audio solution and the Yamaha Adecia RM-CG.
“Xilica and Yamaha’s joint solution offers the broad pick-up coverage and superior sound quality of the Adecia RM-CG with the flexibility of Xilica’s medium and large room solutions,” said Michelle Baeza, director, strategic partnerships, Yamaha Unified Communications.
www.uc.yamaha.com
www.xilica.com
Having recently celebrated its 100th anniversary at the recent NAMM Show, Celestion was awarded the National Association of Music Merchants Award for its years of service in the music products industry.
recognised by NAMM with the Milestone Award,” said Nigel Wood, MD at Celestion. “We started making loudspeakers 100 years ago, and all this time later, we’re making loudspeakers. A lot of companies are 100 years old, but Celestion has stayed true to its core identity.”
Over the past 100 years there have been many changes at Celestion – ownership and leadership have transitioned, markets have shifted. Yet at its core, the company’s essence remains the same as it was when the founders pioneered one of the world’s initial cone loudspeakers. Celestion is said to have left an indelible imprint on the landscape of sound technology and solidified a legacy that resonates across generations of musicians and industry professionals alike.
www.celestion.com
Ross Video and NDI have announced a strategic partnership which enables Ross to broadly license and adopt NDI technology across its portfolio, extending and enhancing existing support for the NDI standard. This collaboration will allow Ross to incorporate the most up-to-date AV networking features of NDI across its portfolio through NDI Advanced.
“Ross Video has supported the NDI standard for many years and is excited to be taking this next step in supporting enhanced versions of NDI, NDI Advanced and the evolution of NDI connectivity,” commented Jeff Moore, executive vice president and chief marketing officer at Ross Video. “We’ve found NDI incredibly useful and look forward to being on the forefront as things advance.”
“NDI is excited to have Ross Video on board as a flagship adopter of NDI Advanced,” said Nick Mariette, director
of product management at NDI. “A cornerstone company in the broadcasting industry adopting our most advanced technology and formats is the best demonstration of how NDI has grown to become a pervasive industry standard, capable of performing to the benchmark set by leaders in the segment.”
Ross Video will incorporate NDI Advanced features across its portfolio, including the following product lines: XPression graphics solution, Ultrix hyperconverged platform, PTZ broadcast video cameras, Media I/O capture and playout solution, softGear Streaming Gateway, Vision[Ai]ry Ft facial tracking and recognition solution, PIERO sports graphics analysis system, DashBoard production and facility control solution.
www.ndi.video
www.rossvideo.com
Ecler has revealed two new distribution partnerships in the southern hemisphere. Representing Australia and New Zealand, Australis Music Group has taken on the Spanish brand with immediate effect.
National business development manager David Kelly explained the rationale of adding Ecler to its rounded product portfolio. “With their renowned reputation within the house of worship, fitness, retail and hospitality sectors, Ecler is a great addition to our family. Having visited their design and engineering facility in Barcelona, where I witnessed stringent testing, my initial perception has been significantly raised. We are looking forward to promoting their technologies including the Vida amplifier series to their loyal existing customer base in addition to others who may be less aware of Ecler. In the core market sectors that we operate, customers increasingly demand ease-of-use apps, wall controllers, multi-zoning and Bluetooth technologies. Ecler’s stylish and user-friendly endpoints fit the bill perfectly.”
Ecler’s Asia Pacific area sales manager, Alex Schloesser, said of the deal: “Rather
than simply find an Ecler representative, we had to carefully consider finding the right partner. We’ve held discussions with David and the team in Sydney for some time and the company fully understands the Ecler culture and the benefits that our products add to any application. We are looking forward to working with Australis Music Group as they reintroduce the brand across all the Australian states and New Zealand.”
Fulcrum Acoustic, a US-based professional loudspeaker brand, has appointed Aligned AV as its distribution partner in Vietnam. Based in Ho Chi Minh city, Aligned AV specialises in delivering AV products, software and solutions to commercial and corporate clients.
“Expanding into the APAC region is a strategic goal for Fulcrum Acoustic, and Vietnam holds immense potential for us,” said Val Gilbert, director of business development for export at Fulcrum Acoustic.
“Our goal is to bolster support for our existing customers in the country while opening doors for new opportunities. We are thrilled to collaborate with Aligned AV, a company that shares our dedication to innovation and customer-centric solutions. This partnership aligns with our mission to deliver exceptional audio solutions on a
Thu Ta, director of Aligned AV, added: “We are honoured to work alongside Fulcrum Acoustic, a company known for its innovative audio technologies. This partnership reflects our commitment to providing high-quality products and comprehensive customer support. Beyond distributing Fulcrum Acoustic’s full line of products in Vietnam, we are dedicated to offering our customers the highest level of product knowledge, technical assistance and training programmes. We anticipate a successful and mutually beneficial relationship.”
www.fulcrum-acoustic.com
The Adam Hall Group is further expanding its global sales network with H.Ito & Co, which will take over the exclusive distribution of Cameo lighting technology solutions in Japan. H.Ito & Co was founded in Tokyo in 1979 and, in that time, has been able to build up an extensive network of partners and customers, also constantly expanding its range of services. “We are excited about the partnership with the Adam Hall Group,” commented Akihiko Sato, president of H.Ito & Co. “Cameo’s solutions cover all professional lighting requirements and give us the opportunity to
To the north of Australia, Ecler has also cemented a new exclusive distribution partnership with Gracia Auvindo, which currently represents dBTechnologies and L-Acoustics in Indonesia.
Confirming the appointment with Ecler’s David Lopez and Jan Pagès Carrera, Gracia Auvindo’s director, Thomsen Phan, has held a long-term admiration of the 58-year-old brand: “Ecler’s well-rounded product offering completes our range. Our customers across the archipelago by five-year warranties. Retailers, schools and hotels are going to enjoy operating BGM and paging systems from Ecler’s intuitive GUIs and interfaces.”
www.australismusic.com
www.ecler.com
www.graciaauvindo.com
L-R: Jason Inn, Hosung Lee, Yosoon Choi and Yongtae Cho from Bosch Building Technologies and Kei Nishio, Sama Sound
Jason Inn. “We anticipate that collaborating with Electro-Voice will open opportunities to greater achievements. Sama Sound aims to combine its strengths and expertise with its new partner to create superior outcomes.
Bosch Building Technologies manager, Hosung Lee, said: “Bosch Building Technologies believes that the recent Electro-Voice distribution contract through trustworthy relationships and successful business expansion. With this contract, in line with Sama Sound’s business philosophy, we hope that both parties, along with customers and agencies, can grow together symbiotically.”
www.electrovoice.com
www.samasound.co.kr
offer new, innovative products to the Japanese lighting industry.”
Glenn Lin, BDM, Asia Pacific, said: “Japan has a long and extraordinary cultural tradition, which is also expressed in the professional theatre and event market. We are delighted to have found an experienced partner in H.Ito & Co and are looking forward to seeing where our Cameo spotlights will be used in the near future.”
www.adamhall.com
www.cameolight.com
www.h-ito.com
CHRIS ROSTALSKI LIGHTING DESIGNER
www.cr-lichtdesign.de
Managing teams at a major music festival is like conducting a symphony of chaos.
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• LESLIE GASTON-BIRD
• PRESIDENT
Lightware Visual Engineering has announced the appointment of Candice Siow as regional director for Southeast Asia. Based in Singapore, she has more than 15 years of sales management experience in the AV industry. In her new role, she will will focus on expanding Lightware’s presence in the region, working in collaboration with key stakeholders. Prior to joining Lightware, Siow spent 15 years with Kramer Electronics, most recently serving as regional sales director ASEAN. She said: “My goal is to build our presence in the region by working closely with our partners to deliver excellence to our users. I look forward to working with my new colleagues in the local
region and as part of the wider international team.”
“The recruitment of Candice marks a significant step in our regional strategy,” commented Robin Enlund, president of the greater APAC region at Lightware. “Her wealth of experience and impressive achievements in the AV industry are an ideal fit for the business. Supported by her leadership, I am confident we will see growing partnerships and a strengthened market presence, all while upholding our commitment to excellence for our partners and users.”
www.lightware.com
• KOY NEMINATHAN
• BUSINESS DEVELOPMENT MANAGER
OBSIDIAN
• ANDREAS REISENZAHN
• BUSINESS DEVELOPMENT MANAGER
retail and e-commerce relationships, positioning him as a valuable asset for expanding the company’s presence in the APAC market.
He has previously served at HP, Poly, Music Tribe and AV Electronics Marketing.
Lim is proficient in English, Malay and Cantonese, with basic knowledge in Mandarin, Indonesian and Japanese. His diverse language skills and cultural awareness equip him to navigate the complexities of the APAC market.
Lim commented: “I am excited to join the Audac team and contribute to the brand’s success in the APAC region. Audac’s commitment to innovation aligns with my professional values, and I look forward to driving growth in the dynamic world of professional
INFiLED has announced the appointment of Vikram Sabharwal to vice president of South Asia, where the company will be expanding its footprint and bring its solutions to regional customers.
“meaningful business impact” and build profitability as well as new client relationships.
Sabharwal said: “I’m excited to join INFiLED. I greatly appreciate the enthusiasm and passion of the founders
Baumgärtner leads d&b growth for APAC
Jan Pagès Carreras elevates at Ecler
holding the position of director of corporate development.
Prior to this, Baumgärtner
Jan Pagès Carreras has
Electronic Theatre Controls (ETC) has unveiled the promotion of Alva Wong as general manager, Asia. Wong has over two decades of experience in the lighting industry. As the general manager, he will oversee ETC Asia’s operations and drive the company’s success.
Wong is said to have been integral to ETC’s growth throughout Asia, taking on more senior roles throughout his time with the company, including manager of project management in 2012. He was instrumental in setting up several departments, including customer service, picking and quotation and project management.
• JOHN MILLER
• VP OF GLOBAL SALES AJA
Holoplot has named Jocelyne Bückner as its new head of marketing. Based in Germany, Bückner is said to have over 15 years of marketing experience gained in various senior positions, including her latest leadership role at d&b audiotechnik.
Bückner said: “The Holoplot ethos of creating a work atmosphere that attracts top talent resonates with me. Given the ambitious growth strategy, I want to ensure that our team aligns with these ambitions and is the engine it needs to be.”
“Jocelyne brings a strong strategic capability and unwavering energy to the team, coupled with a growth mindset,” concluded CEO Roman Sick. “As we expand our market presence, manifesting
• CHRISTOF BÖHM
• PRESIDENT/MD SHARP NEC
new
Sound Devices continues to build its support for the APAC market, appointing Bryan Lee as sales manager for the region. As the company continues to expand its product offerings, it has also been bringing on regional partners, sponsoring local training and demo events and improving networking for location sound professionals in the APAC market. Lee brings to the role over 20 years of experience in
Matt Anderson, CEO of Sound Devices, commented on the appointment: “Bryan brings a special combination of skills to Sound Devices. He is adept at using Sound Devices gear, has a keen understanding of the pro-sound market throughout the APAC region, has a strong
• MARTIN ANDERSSON
• PRODUCT DIRECTOR
www.sounddevices.com
• DANIEL NERGÅRD
• PRESIDENT
Customized production
Starting out in 2003 as a team of three in busy Melbourne, UT Consulting had to set itself apart from other AV consultancies. It did this by providing specialist services for the then less-trodden courtroom and education environments, before extending to health, commercial, hospitality and government spaces. Now, UT Consulting’s team of 15 is spread between Melbourne and Perth and is currently focusing on projects mainly within the healthcare sector.
environments that can incentivise talent acquisition and the retention of clinical staff.”
Daniel Knoche, senior consultant at UT Consulting, says that a lot of healthcare facilities are looking to the future when requesting an AV system: “From a technology infrastructure perspective, we have seen futureproofing and options for expansion become more common during the design and development process. A common approach for a hospital project used to be to design and build for the site’s immediate requirements; however, today, we are involved in discussions on designs that allow for additional wards or departments in the future.”
Knoche also notes that, globally, there is a lack of availability of clinicians, which means that hospitals are feeling the pressure to be an appealing environment for much-needed doctors, nurses and allied health professionals. “This macro issue has an impact on the facility design, where the focus is on creating
With healthcare facilities hardly ever underused, it’s a reasonable ask that the technology can keep up with demand and that the facilities receive reliable support, should it fall short. “The impact of downtime for an operating theatre can be catastrophic, especially if theatre space is limited. Therefore, a key emerging trend is ensuring redundancy in the system design, as well as sourcing appropriate support agreements. These agreements are tailored to the facility to maximise uptime, with agreed strategies in place to address onsite support and the replacement of faulty equipment.” Virtual Health Environments (VHEs) are another growing trend within healthcare technology, which see remote monitoring of wards, allowing two-way visual and audio communication to the bedside. Access and Flow rooms are also a popular request, according to Knoche. These systems enable staff to manage the needs of the hospital on a day-today basis via a single control room. “The information comes from various sources such as electronic medical records, theatre scheduling and patient administration systems. Data – emergency department case numbers, waiting times, ambulance arrivals, unexpected patient discharges or planned surgeries, for example – are often shown as graphics to make them easier to read and interpret.”
The data then allow appropriate decisions to be made about the immediate and daily requirements of the facility, regarding staffing levels, patients needing more care and ambulance traffic, for example.
So, with a growing list of options for healthcare AV, where does UT Consulting start when taking on a project? Knoche explains: “Different procurement models can impact the AV consultant’s role, whether that be Public-Private-Partnerships (PPPs) where the state is looking to build a hospital and the facility is built and managed by a consortium, a project run by a managing contractor or a project run by the hospital directly. The model of the project determines how the project is run and whether design works need to be performance-based or prescriptive, and how systems need to be procured.”
to work quickly and efficiently, providing the clinicians within the theatre all the information and data needed.”
With many of us sceptical about the increasing use of technology, Knoche insists AI, in particular, is best used for complex analysis within healthcare. However, that doesn’t work without a skilled practitioner reviewing the analysis and assessing the overall situation for the good of the patient. “We see AI as assisting in supporting patient care. Clinicians and any other end user should not be worried about the technology – it should work every time, be reliable, user-friendly and allow them to undertake their requirements, whether that outcome is clinical or non-clinical. That is when AV assists with improved productivity and quality of care.”
www.utconsulting.com.au
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Going from amateur photographer to Master of Photography, technical product company Solas’s sales director
Rick Wade talks to Libby Stonell about his love for the art, as well as his ability to switch off while doing it
What’s a typical 9–5 day in your role as sales director for Solas?
This will vary depending on the time of year. During the summer months when the projects aren’t so frequent, I get more time to go out and visit clients and work on our relationships. However, when we hit the peak season, it gets a bit trickier as everyone is so busy, so my routine changes a bit – there’s definitely more conversations taking place via phone or WhatsApp.
What sparked your love for photography?
That’s easy to answer. I have always enjoyed looking at great photographs, but I didn’t have any idea of how to take one. I was amazed at people’s ability to produce such magnificent images and didn’t think I could ever do that. I guess this is why for so many years I didn’t explore it as a hobby but then, one day, I changed my mind. So, a couple of years ago, I enrolled with the Serge Ramelli Institute of Photography. This was one-on-one training with Serge, who is a famous French photographer, and it focuses on teaching the techniques of landscape and cityscape photography. After 18 months of hard work, I graduated with a diploma certifying me as a Master of Photography.
What do you enjoy photographing most?
My focus is more on landscapes and cityscapes. I don’t think I would enjoy portraits or fashion shots as much as I think the pace at which you must work at on these types of shoots is too fast. I like to slow things down – you can take a bit more time in your workflow shooting landscapes as they don’t really want to go anywhere.
What is the photo you’re most proud of to-date?
If I had to pick one, then it’s probably one I took in Venice, Italy. It was a long exposure photograph taken from the Accademia Bridge facing the Basilica di Santa Maria della Salute during sunrise. The trip was actually a seven-day photography workshop travelling around Italy and was a treat to myself for getting my diploma.
What has been your biggest challenge while photographing?
Getting the settings right! This was always a challenge to start with; however, I have improved a lot over time. Actually, I think the hardest challenge is finding the shot – you have to have a composition that really tells a story, which I think is the secret to a great photograph. That and the right lighting!
Are you part of a club? Or do you prefer to go solo?
There are a couple of groups of photographers that I go out shooting with. We get together in various locations around the Emirates throughout the year. But, actually, I do prefer to go alone, as it becomes a bit more of a “my time” moment and gives me the ability to unwind.
Have you made any future plans regarding your photography? A trip, perhaps?
Yes I have – I want to start selling my pictures. I am working with a fellow photographer friend, Liesl Walsh, on selling my art via the platform Fine Art America and have already sold a few images. As for travelling, I am planning to visit New Zealand’s South Island. I’m also looking at going to Iceland.
What advice would you give to someone wanting to start photography?
Just do it! It is a great hobby, although it can become addictive. I spend most of my free time either shooting, learning or editing. As for gear, you don’t need an expensive camera and, to be honest, if you’re going to be doing it for your own personal enjoyment, then there’s no need to spend a huge amount. Admittedly, I have spent a bit having upgraded to professional-level cameras and lenses, but this is more because my focus now is on selling my work, so having that extra quality is an advantage.
shooting or at home editing, I’m not thinking about work at all. It’s my way to switch off completely, even if it’s only for a few hours.
www.7-richard-wade.pixels.com
www.solas.ae
Lee recently opened her new gallery space in Potts Point, Australia. The gallery celebrated its launch with Lee’s new exhibition The Sound of Yellow she plays with solfeggio frequencies –which have been proven to reduce stress, improve sleep and increase creativity. Genelec products were selected to help plug guests into the exhibition. The project began with Genelec’s Australian distribution partner, Studio Connections, introduced to Lee through a mutual friend. An advocate for Genelec, Studio Connections felt that the brand would be a fitting choice for Lee’s immersive project. “It was a challenging concept which pushed us out of our comfort zone but, as we were relying on a Genelec system, we knew that the result would be really powerful and moving,” said Deb Sloss, managing director at Studio Connections.
The Sound of Yellow incorporated the visual effect of yellow through paint, plaster, porcelain and natural resin.
A custom scent was also designed in collaboration with Clayton Ilolahia, which was infused with notes of citron zest, pink pepper, saffron, ambergris and golden syrup. Lee also created a bespoke tea to accompany the project.
For sound, guests arrived in groups of six and were invited to “shed their persona” by uncloaking and dressing in a white robe. From there, they entered a structure that was built to infuse solfeggio frequencies through the body via four white Genelec 8361 coaxial loudspeakers and four Genelec W371 woofer systems from the The Ones series, complemented by a 7382 subwoofer. Two open rooms hosted the sound installation, each approximately 7m very high ceilings. Two loudspeaker stacks
The Sound of Yellow encouraged visitors to play with their perception of three of the five senses. Lee describes painting as a “transcendent experience,” where colours have different sounds and scents,
Behind every great brand is a Tim.
positioning in the room. The software works to analyse and minimise the effect of unwanted acoustic influences in a space, giving users control of the reproduced sound. “The room was essentially a large echo chamber, and the only concession to the reverberation was a selection of artworks
vibrational frequencies have a positive impact on mental wellbeing, and are also said to relieve physical pain.
Lee wanted her guests to feel the bass as they lay on the plinth, listening to the healing frequencies, so the volume balance was tweaked by reducing the level of each of the four speaker stacks by 4dB – thereby raising the relative subwoofer volume.
specifically yellow which she hears the loudest. “It’s forceful. It represents the beginning of each day, a sense of hope, and also the end of each day and a sense of rest,” she said. “It’s happy and melancholic at the same time.”
were positioned up against an exposed concrete wall, while the other two stood freely.
Genelec’s GLM software dealt with the frequency imbalance between these two sets of speakers, created by their
“I wanted to share my experience and what it feels like when I paint with yellow. The Genelec speakers and the subwoofer that was built into the structure are rich in texture; they are tuned to perfection. My desire was to use the insanely good sound to connect with people, and without Genelec that wouldn’t have been possible.”
www.genelec.com
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Sonos Libra recently took responsibility for the sound on the Enfold stage at Wonderfruit Festival in Thailand. The stage caters to more ambient music and is made of rammed earth, so the sound system had to be custom-made in terms of dimensions and rigging parts, which were made of bamboo.
Due to the festival’s more natural environment, Sonos Libra opted for the Adamson Fletcher Machine. The festival’s organisers were familiar with Adamson and, after demoing the Fletcher Machine, they
Libra also took the opportunity to gather artists from the universities it partners with, encouraging the students to create content using the Fletcher Machine and perform at the festival. This also allowed the company to test the Adamson CS and AFM systems in extreme conditions such as heat and dust.
Included for the main PA were five Adamson CS10ps, nine CS7ps, five CS119s and a CS119. For FOH, the stage and the system engineering rack, two Allen & Heath products were selected – a
I/O Cards. An Agora Ghost switch and an Earthworks M30 were also selected.
Sonos Libra was supported by Carlos Sallaberry, Adamson’s application engineer APAC, and Sylvane Thevenard, a developer of the Fletcher Machine, who brought a lot of help in the way of touring experience.
The project was not without its challenges.
The festival is located in the mountains in December, with the weather known to rapidly change during this period in Thailand, whether that be rain or really cold temperatures.
Despite this and time constraints during
is said to have behaved “flawlessly” without issues during the festival.
Sonos Libra’s Alfonso Martin reflected on Wonderfruit Festival: “We got a very positive response from clients, artists and audiences. Most of the performers had never used a system like the Fletcher Machine, and you could see during the rehearsals how they quickly adopted the technology. The organisers have said they want us back next year!”
www.adamsonsystems.com
Korean composer and production team, Mad Soul Child, has selected Prism Sound’s new Dream ADA-128 modular converter for its audio conversion needs. The team is involved in a multitude of projects, spanning albums, films, dramas, advertisements and documentaries. Mad Soul Child initially collaborated with K-Pop superstars such as Jo Sungmo, Lee Hyori and Shinhwa, as well as tackling music for primetime TV commercials. They have also released their own albums including the 2009 hit LaLaLa , featuring vocalist Jinsil.
Based in Paju, Gyeonggi-do, Mad Soul Child has a studio equipped with Pro Tools and ATC SCM 45 and KII THREE speakers. Chief sound engineer Jung Moo Kyung stated that the Prism Sound Dream ADA-128 has become a key part of the team’s recording setup, especially as the unit’s expansion option card offers ample expandability for analogue outputs. “That is a significant advantage because it leaves the door open for effortless upgrades in the future, which is gratifying,” he explained.
“Using the ADA-128 alongside the Apogee Symphony Mk2 initially posed some challenges in slot (box) in/out assignment screen interface recognition, which was
a bit of a finicky aspect with Pro Tools compatibility,” Kyung added. “It took me a little time to work it out and get it set up but, once configured, it operated with reassuring stability.”
According to Kyung, there has been a notable difference in sound quality between the Dream ADA-128 and the converters previously used. “The reduction in Total Harmonic Distortion tends to contribute to a more transparent and smooth sound quality,” he said.
“Additionally, during extended processing of plug noise, the equipment appears to substantially diminish the gritty texture typically encountered, by a significant margin.”
Mad Soul Child was one of the first production teams to adopt the Dream ADA-128, sourcing the unit from Prism Sound distributor ANK, and it’s since been used on a variety of projects, including new albums for Korean singers BMK and Lee Seung Yeol, as well as music mix and mastering for audition broadcasts.
“The build philosophy of the Dream ADA-128 is captivating, aiming for the zenith of sound quality,” Kyung continued. “From the first listen, it evoked a sentiment of ‘this is something different’, especially having experienced a variety of converters
interfaced with Pro Tools before. Despite the high price tag of other converters, the digital sound quality characteristic of a slightly dry or rough texture becomes apparent over time. The Prism Sound
www.prismsound.com
RISE Pacific, a specialist in complex access, entertainment and industrial rigging, has selected Riedel’s Bolero wireless intercom system for communication during its diverse and often dangerous projects.
RISE Pacific has used Bolero for projects involving working at great heights, including aerial performances and rope access for building inspections and maintenance, telecommunications, geotechnical work, rescue operations, emergency response and confined-space entries involving deep shafts and pipes.
“When we were going through the risk assessment for our projects, Bolero was a critical element. We just wouldn’t have had the confidence to take on such high-risk projects without it,” said Clancy Simpson, director at RISE Pacific. “We know from first-hand experience that Bolero is not just for the entertainment industry; it has seamlessly integrated into our vertical world of rope access and complex rigging projects, proving its value in mission-critical applications. Bolero has become an essential tool in
ensuring safety, efficiency and clear communication, and the system’s adaptability and performance have truly exceeded our expectations.”
Prior to using the Bolero system, RISE Pacific used traditional radios and felt they often fell short, overwhelmed by multiple transmissions, message latency and interference issues. Not only was this a risk to safety in certain situations but could also lead to financial loss and downtime if a task, such as guiding a heavy high-voltage cable down a vertical shaft, were to fail.
RISE Pacific acquired eight Bolero beltpacks and two antennas, along with the ability to expand its setup through the pre-existing Motorola interface with Riedel’s NSA-002A network stream adapter. Team members can attach the beltpacks to their harnesses and connect them to Bluetooth earpieces, reducing cable clutter and enhancing mobility.
During long days onsite, team members can tune into RISE FM – a separate channel created through Bolero – and listen to the same music. During a project celebrating the anniversary of an Australian
parts of the airfield. Bolero enabled communications throughout the event load-in process and provided built-in hearing protection through earmuffs. Bolero also integrated with the load monitoring system, enabling members to hear alarms from anywhere in the hangar. The team also guided a vehicle offsite without the need for hand signals.
and TV production, RISE Pacific’s deployment demonstrates the system’s vital role in safety and communication within missioncritical events and applications,” said Chris Johnson, sales director Australia and NZ at Riedel. “We see time and time again that when communications are critical, Bolero is the trusted choice.”
The production of Kuweni the Musical by Charitha Attalage in Sri Lanka has called on products from Allen & Heath’s dLive mixing platform to bring together elements of the multidisciplinary performance. The British manufacturer’s audio solutions played a pivotal role in bringing the production to life, with the equipment line-up including a dLive S7000 surface, two DM64 MixRacks, four DX168 expanders and three networking cards (gigaACE, Waves V3 and Dante 128x128).
Handling both FOH and monitors on the dLive S7000 was accomplished audio engineer and founder of rental company Universal Sound Productions, Malinda Lowe. Leveraging the dLive system, Lowe orchestrated a complex setup of 128 inputs and 64 outputs, ensuring good audio quality
have used some of these features in my other consoles,” Lowe added. “But the dLive I/O integration and workflow were seamless. It’s just a matter of assigning a SoftKey to switch the console features.”
In addition to the stem playback session, there was a common cue track and dedicated cues for drums, percussion and strings sections of IEMs; the click track and time code also ran via Dante. “The workflow was very easy thanks to the dLive software ecosystem,” Lowe commented. “During all 10 days of production we didn’t have a single glitch on the rig. It was super smooth and sounded very natural in a good dynamic range with the many fusion drum acts we had.”
www.allen-heath.com
throughout the show’s 90-minute duration.
“As a sound engineer, I travel around the world for work, and I get to use different types of boards every time,” said Lowe. “Last year I wanted to try the dLive on our Australia tour, and I loved the ecosystem and the workflow of the board. When we were planning for the Kuweni the Musical concert, I knew the consoles I owned at the time were not going to meet this kind of complex requirement. I had many challenges to overcome with the music director’s requirements, so I decided to invest in a dLive system – the first in
Sri Lanka – to fulfil all my technical demands.”
One of the highlights of the production was the integration of 112 open microphones, various line instruments and an eight-channel stem playback session via Dante –with the entire setup controlled through the Allen & Heath ecosystem. The dLive system’s software and hardware harmony also enabled Lowe to navigate the intricate demands of the production with ease, with the engineer utilising Virtual Soundcheck mode to fine-tune the house and IEM mixes and save them to scenes accordingly during the rehearsals. “I
Toyama City’s Tulip Television recently upgraded its intercom system for its office building with the help of Clear-Com.
Established in 1990, Tulip Television is an affiliate of Japan News Network (JNN). The approach to the upgrade was said to be resilient and innovative, with the process taking time due to challenges posed by the pandemic, as well as the design and demonstration of the system in 2020–2021 to equipment shipping in 2022, and installation under some Covid restrictions in the early part of 2023.
Tulip TV and Clear-Com partner and distributor, Matsuda Trading (MTC), was unequivocal in its praise for the technology
and the mutual dedication to procuring the system under challenging circumstances.
The new system includes a Clear-Com Eclipse(r) HX digital matrix system with FreeSpeak Edge digital wireless and leverages Clear-Com’s mobile smartphone app, Agent-IC. The system utilises an Eclipse HX-Delta as a central matrix, which is equipped with an E-IPA card for IP connectivity to connect V-Series Iris panels, FreeSpeak Edge transceivers and Agent-IC between different rooms and other locations, with Iris panels located at remote master/news desks. All wireless transceivers are driven through the IP network.
Tulip has also adopted a 5GHz FreeSpeak Edge system, providing wireless coverage for the beltpacks in its ground-floor studio.
“All endpoints are connected as a single communication system. Numerous Clear-Com Iris key panels are deployed
in each sub-table location, while further interoperability includes cameras, radios, announcer talkbacks and phone lines,” the technical team of Tulip TV explained.
In addition to meeting requirements for cost and scale, the system designed for the new space is said to have provided Tulip TV with an advanced communications environment. The team at Tulip also shared that “Clear-Com’s EHX management software is easy to use” and that they are “satisfied with the ability to create a diverse communications environment”.
Tulip mentioned that “with the introduction of Agent-IC, challenges were instantly resolved. Similar mechanisms existed in the market, but the deciding factor was Agent-IC’s superior GUI [Graphical User Interface]. It can be operated intuitively even by reporters and other staff who are not familiar with the operating equipment, and it has received good reviews from the field.”
A spokesperson for MTC stated: “Clear-Com and MTC will continue to provide a stable intercom system in the future, and we will do our best to support Tulip.”
www.clearcom.com
The need for a “lightning fast, supremely reliable and infinitely flexible” digital network were the key requirements when Korea Creative Content Agency (KOCCA) set out its must-haves for a black box theatre in Seoul. The Multi Content Testbed was conceived as a test ground where all types of cultural and artistic content would merge with technology.
Optocore originally received the inquiry from installation company, SiDiS, as far back as
MADI switch at FOH, which would share the inputs and outputs of four stageboxes. These, in turn, are catered for by a variety of X6R-FX and X6R-TP devices, and a BroaMan Repeat 48, which convert video or digital audio formats between coaxial and optical connections.
The equipment was supplied by local distributors, Seoul-based Ingang Audio.
The black box theatre forms the hub of the experimental Creative Content Culture Plaza,
aim is to turn Korea into a major player in the content industry worldwide.
The 191-seat STAGE66 showcases technology demonstrations, stage experiments, B2B showcases, cutting-edge performances and events. These experimental performances receive support from the government, regardless of audience revenue.
It had been Eugine Yune, then working with SiDiS, but now working as EG Audio, who first recommended that the client – part of the Korean Government – adopt an Optocore solution. “I knew some people at the theatre, and thought Optocore would be useful to them, since they had been wanting a versatile system that could be applied to any performance format,” he said.
Optocore is presently connected to the Midas M32 through a Klark Teknik DN9650 interface. However, for the future, Yune has also proposed a mixer upgrade to the Avid or DiGiCo platform, specifically to meet high-level performance requirements.
“Versatility is important and the in-house techs can rest in the knowledge that they can move the Optocore devices to any place in the theatre, in order to increase or decrease the number of AV channels and control lines required,” he said.
Singapore retailer and wholesaler of musical instruments and audio equipment, City Music, has recently embarked on a transformation, kickstarted by a new corporate identity and relocation to a modern venue.
With the move to a larger office space, it was time to enhance the audio experience for online meetings, particularly with platforms like Microsoft Teams and Zoom being used more and more frequently. City Music sought a solution to deliver and receive “crystal-clear” audio and called on Electronics & Engineering to help.
With the advantage of a blank slate, the team selected Shure as its brand of choice for its conferencing needs. The new, bigger meeting room required a scalable and flexible solution, and opted for Shure’s Stem Ecosystem, enabling City Music to customise the meeting room and also save time and money due to the product’s no-programming approach.
“The different parts of the Stem Ecosystem helped evaluate our audio experience during online meetings. Both the microphones and speaker system worked seamlessly to deliver optimum audio quality for participants on both ends of online meetings,” said Hoe
Yeegn Lougn, sales director, City City Music is said to have benefitted greatly from the solution. Interlinked with the Stem Hub, which acts as the brain of the operation, the installed Stem Table and Wall gave good-quality conferencing through a combined 24 microphones, with a downward-facing speaker, along with a full range of
“As the need for hybrid meeting environments continues to change, users are looking for scalable and flexible ways to create modern BYOD conference rooms. Our most recent firmware updates further enhance Stem Ecosystem’s acoustic performance and make the installation process even more seamless,” said Jayme Quah, senior sales manager,
There isn’t a need for individual headsets or microphones, which City Music say has resulted in clearer sound for participants on the receiving end.
“It has really enabled more effective communication during online meetings as we sound clear in our delivery. What’s more, the setup looks clean and neat, adding to the ambience of our new office. It was simple to install, taking only about 30 minutes, and works great without any complicated setups,” said Lougn.
“I am thrilled to share the latest milestone in our partnership with City Music – the successful installation of Shure’s cutting-edge Stem Ecosystem Conference system. We are confident this installation will not only enhance the audio experience but also enhance the overall ambience and functionality of the space,” said Gerald Chew, business unit head, sales and distribution, Electronics & Engineering.
www.citymusic.com.sg
www.shure.com
A division of Bangkok-based Lighting and Equipment (L&E), L&E Beyond has unveiled what is said to be the largest LED volume in Southeast Asia. The space, forming part of the recently announced virtual studio, aims to attract both local and international clients. The LED volume supports the production of music videos, live shows, events, award ceremonies, films and product launches.
Measuring 18m x 7m (WxH), with a curvature adjustment of up to 5°, the LED volume is powered by four Brompton 4K Tessera SX40 LED processors in conjunction with eight Tessera XD 10G data distribution units, plus two Tessera S8 LED processors. The LED panels comprise AOTO RM 2.3 for the LED wall and AOTO MH 3.7 for the ceiling and movable panels, totalling 30m2. All LED panels have been calibrated with Brompton’s Hydra measurement tool.
Partner: SNC Alliance
at L&E. “This will elevate Thai virtual production to new heights by providing an internationally standardised system for global-level production, eliminating challenges in shooting with an LED screen.”
Kittivittayakul continued: “L&E Beyond offers content creation services for LED screens, collaborating with Infinite Reality Studio, a highly respected
audience with an unparalleled experience by partnering with a leading international TV show and integrating virtual reality innovation to craft an exciting, novel project for the audience,” Kittivittayakul noted. “With Brompton Technology LED processing on board, we’ve observed a significant enhancement in colour and visual quality compared to other market
Hollywood reputation. Having established offices in Singapore and Vietnam, they have expanded into Thailand and will utilise our LED volume.”
The virtual studio has received positive responses from customers. Kittivittayakul explained: “The latest adaptation is tailored to the new era of the Metaverse or Virtual Reality, where users can interact, engage in activities and make transactions without a physical presence, utilising VR, AR, MR and XR technologies.”
“We are delighted to see L&E Beyond utilising Brompton LED processing to establish world-class virtual production standards in their studio facility,” said Elijah Ebo, director of APAC operations at Brompton Technology. “This raises the bar for virtual production, not only in Thailand but across Southeast Asia, offering exceptional visual experiences for a wide variety of applications. We’re excited to witness all the productions that will emerge from L&E virtual studio in 2024.”
www.bromptontech.com
Christie HS Series 1DLP laser projectors are assisting the new light and water show at Ningxia Yinchuan Cultural City with an array of visuals inspired by the phoenix, an immortal bird that’s become the icon of the city. Located in the Ningxia Hui Autonomous Region in northwest China, this nighttime performance is positioned to become a hallmark performance in this region, which underscores Yinchuan city’s commitment to “artistic excellence and cultural significance”.
At the heart of the Phoenix Dance of Yinchuan water show are five Christie D20WU-HS 1DLP projectors which bring vibrant projections to life on the water screen. They were installed by Jianye Display, Christie’s partner in Southern China,
which has a wealth of experience in various projects spanning cultural tourism, corporate and government installations. Jianye Display oversaw projection and systems designs, as well as managing onsite construction and commissioning. “The centrepiece of this aquatic spectacle is the striking water screen projection at this musical fountain that has contributed significantly to the nighttime allure of Yinchuan,” said Huazong Dong, technical supervisor, Jianye Display. “The D20WU-HS projectors played a pivotal role in this endeavour, thanks to their remarkable attributes such as high brightness output, excellent colour reproduction, compact footprint and omnidirectional capabilities. The vivid projections, synchronised with the rhythmic dance of water jets and uplifting music, beautifully paints the city in an ethereal glow after dark.”
With water columns reaching heights of up to 15m, the show is a living embodiment of the overarching theme, “Return to Phoenix City”, transforming the Diannong River into a canvas for a performance
that aimed to captivate audiences with a blend of water jets, high-tech projection, show lighting and music.
Dong noted that the five Christie D20WU-HS projectors equipped with telephoto lenses were fitted in weatherproof enclosures mounted on vertical poles and positioned along the shore of the Diannong River. From this location, the projectors were able to display vibrant images measuring 90m x 12m (WxH) on the water screen. Additionally, the ChristieNET Master Display Controller was used to remotely monitor the equipment status in real time to ensure the stable operation of the performances.
Dong added: “Unlike conventional shows that often rely on repeated combinations of various elements, this innovative spectacle presents a clear and well-defined portrayal of its core theme. Here, the convergence of culture, technology and creativity gives rise to a performance like no other.”
www.christiedigital.com
Value. “Stone surfaces almost everywhere, lots of pillars, a tubular shape and low ceilings. Due to the almost unhindered reflections from the hard surfaces, it was clear from the start that we couldn’t play the room at high levels but had to rely on a clever multi-zone system to avoid blind spots or a drop in level or sound quality.”
Sonic Value used a double LD Systems MAILA ground stack setup as the main PA for the DJ concerts: MAILA L with two 2x15-inch MAILA SUB high-performance subwoofers each for the external stereo sound reinforcement and a MAILA M with 2x2 MAILA SUBs as the internal stereo system. In addition to another MAILA S stereo system at the rear, a total of 10 CURV 500 array systems, each consisting of a D SAT duplex satellite and an SLA SmartLink adapter, were positioned on stands at the
units were used as front fill in front of the DJ stage to provide sound for the front rows of the audience.
“With MAILA, we primarily covered the lowfrequency range evenly for the entire location,” added Inho Cheon, Sonic Value’s associate brand manager. The CURV 500s provided support in the mid and high frequencies to ensure an immersive sound image. “We had to adjust the angles of the MAILA satellites several times until we achieved the desired room coverage. The EasySplay mechanism made this easy.”
Cult US shoe manufacturer, Vans, recently organised a two-day pop-up event incorporating a shopping market, skate shows and DJ concerts in an unused underground station in Seoul. Adam Hall distributor, Sonic Value, was tasked with the deployment of an extensive LD Systems setup consisting of MAILA, CURV 500 and MAUI P900 to provide sound reinforcement across the event.
“The location was a real challenge,” confirmed Ethan Yoon, head of technical team at Sonic
In addition to the main sound system, other LD Systems speaker series used included a combination of MON 15 A G3 coaxial stage monitors and STINGER SUB 15 A G3 15-inch bass-reflex subwoofers which provided monitoring for the DJ stage. In front of the DJ booth in the market area, Sonic Value placed two DAVE 18 G4X 2.1 PA systems in a DSP-supported, interference-free cluster setup, each with two closely neighbouring satellites on a T-stand above the 18-inch subwoofers. Two MAUI 11 G3 column PAs served as the monitoring system for the reception-style DJ booth, with one in black and one in white.
www.adamhall.com
www.ld-systems.com
www.sonicvalue.com
Southern Cross Station in Melbourne serves over 1.2 million people every week and is said to be Victoria’s primary metropolitan, regional and airport gateway. Melbourne’s main train hub for regional rail had a significant issue with communicating with its customers. The regional rail platforms are up to 300m long and are busy with travellers during rush hour. Southern Cross Station’s old paging solution was limited –there wasn’t any zoning, and all 16 platforms got the same message.
Myke Ireland is director of technology at InSight Systems, Southern Cross Station’s managed services provider. Ireland was briefed on an improvement to the station’s announcements capabilities and he and his team were said to be all ears. “The officers wanted to freely walk up and down anywhere along a platform and make announcements to anyone on that platform,” described Ireland. “The problem is, Southern Cross Station is a natural Faraday cage – it’s where RF goes to die. Not only that, it’s thrumming with high-voltage cables, and there’s EMF
length paddle antennas, normally sufficient in most other contexts – was up to the extreme conditions. The software modelling recommended eight of these helical antennas from Sennheiser for each platform. The antennas are placed at the public information display structure positions. They’re said to be highly directional – each platform is its own zone and intermodulation between platforms wouldn’t suffice. InSight Systems also selected wireless microphone systems from Sennheiser’s G4 range, including ew300 handheld systems, powered antenna combiners and receivers. Also
But the sort of wireless system the station was after would need to be exceptionally robust, interference-free and work every time someone picks up a mic.”
Sennheiser worked with InSight Systems to assist in mapping the four regional train platforms to model the RF environment and help specify the type and quantity of antennas required. This project would need to ensure that the A5000-CP – the more standard half-/quarter-
George Sotiriadis, sales manager business communications at Sennheiser, added:
“Working with Myke and the InSight team in the design phase was a pleasure and it’s gratifying to know that everyone involved with this project is so thrilled with the end result.”
www.insightsystems.com.au
www.sennheiser.com
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Hong Kong’s Clockenflap festival returned to Central with six stages of entertainment, including the main Harbourflap stage backed by the Hong Kong Peak and overlooking the harbour to Kowloon.
Once again, MSI Japan was appointed as the production partner for the Harbourflap stage, with Bunshiro “Bun” Hote, Yasuhiko “Yasu” Watanbe and Yukio “Eddie” Tanada handling sound design, with a particular emphasis on noise control. With the rear of the stage backed by government and residential properties, and complaints from residents in the past, the challenge was to limit audio heading in that direction.
Accordingly, the team designed a Martin Audio MLA system with a cardioid subwoofer array of 30 MLX subwoofers, achieving close to 30dB rejection at the stage rear.
Two hangs of 15 Martin Audio MLA line array cabinets with one MLD down fill were plugged into the Display prediction software, enabling MSI to control audience coverage using the “hard avoid” feature at the rear to eliminate audio from onstage and from residents behind the stage. Limits were placed at the edges of the audience areas to ensure maximum focus on the crowd and prevent audio travelling across the water to Kowloon.
When it comes to noise control for all six stages, the buck stops with Clockenflap’s production manager, Peter Gorton. “When
fly and test different line arrays at the site to situating large sandbags behind the subwoofers, blocking sound from the rear of the stage. MLA’s ability to eliminate noise from the back of the stage has meant that sandbags are a thing of the past. However, noise reduction is a crucial component of
were playing for the first time in Hong Kong,” said Gorton. Yoasobi FOH engineer Fujita Kengi described the resolution of MLA as “standout”, allowing him to focus on the mix and create an impact for the audience.
www.martin-audio.com
One of South Korea’s largest banks recently called on AV distributor Oneed to help solve HD display concerts, seeking a Datapath processing solution.
Headquartered in Seoul, Woori Bank’s origins stretch back to 1899, offering consumer banking, corporate banking, investment banking and private equity. One of the four largest domestic banks in the country, it operates
needs of the meetings, conventions and other events it hosts, with a large 12.5m x 4.3m, 1.5mm pixel pitch LED display dominating a viewing stage. Being a large LED display canvas, the challenge was to ensure there were no issues with tearing/output synchronisation, as there are no natural bezel borders. With the requirement to use multiple video sources and scale content as required,
display surface to showcase creative presentations. With the system requiring at least six 4K@60fps inputs and six 4K@60 outputs, and with a requirement of 32GB memory, a revised solution was utilised to ensure the system was prepared for many years of use.
Sangjun Yoo, sales engineer at Oneed, commented: “We know that Datapath have a proven history in advanced video
processing technology and they are our default manufacturer for tackling these multi-source challenges with LED displays. By working with Datapath, we could offer a solution that has all the power and flexibility that Woori Bank required.
“Furthermore, specifying a videowall controller, input/output cards and management software from a single manufacturer with Datapath’s experience provides optimum system stability, along with the peace of mind should any technical support be required.”
The winning bid consisted of a VSN1172 controller, equipped with three Image2K graphics cards each providing two 4K@60fps signals, along with a trio of Datapath’s VisionSCUHD2 capture cards – each providing two HDMI 2.0 capture channels at 4K@60fps with 4:4:4 chroma sampling. The use of Datapath’s Image and Vision cards ensured full HDCP support was met. Total control of content comes from Datapath’s WallControl 10 Pro software. Now fully installed, the project is said to be running seamlessly and without issue. Woori Bank commented that the system now provides “high performance for various purposes, including meetings and conventions”.
www.datapath.co.uk
www.oneed.co.kr
www.seahnetworks.com
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South Melbourne MI institution Factory Sound has matured since it began life in 1994 in an old warehouse. Now under new ownership, it’s diversifying its business model and accelerating towards the next phase of growth.
“We started out selling rolls of gaffer tape, connectors and Shure SM58 microphones, but grew relatively quickly into a very large pro audio store,” said Artie Jones, operations at Factory Sound, who has been with the business since 1998. “It’s been quite a journey.”
Pre-internet, Factory Sound produced and mailed out a 140-page catalogue ranging from connectors to microphones. “Back in 2000, we boasted the largest microphone display in the country,” he continued. “Our first catalogue was 20 or so pages and we mailed it out to every contact we could find. When the phone calls started, we partnered with a reputable freight company to ensure the goods would be delivered swiftly and safely.”
Clientele quickly expanded beyond musicians to touring engineers and production companies, with success down to a problem-solving approach to provide the best solution. “Our location has proved to be advantageous as the
big colleges such as RMIT, Collarts and Melbourne University are located within a 2km radius, and the main theatres are a stone’s throw away,” said Jones. “Our extensive sales network expanded into the education sector, especially for wireless microphones and multiroom setups, and we also serve the house of worship sector and local government. By understanding our customers’ needs, we have created a bespoke service. In this business, word of mouth is the best advertisement. Our mantra is ‘Every customer is famous at Factory Sound’ and that refers to anyone walking through the door.”
Sales manager Dean McGrath has clocked up a similar amount of time at Factory Sound. “Because of my DJ background, I was invited to a party promoting DJ products,” he explained. “I was offered a job to start up the DJ division, promoting brands ranging from Pioneer to Allen & Heath.”
As the DJ marketplace became oversaturated, Factory Sound diversified. “I expanded my knowledge into wireless, mixing, recording and microphones,” continued McGrath. “My clientele generally moved from DJing to live production, and I migrated with them. We differentiate ourselves by focusing on quality products and brands. This means continually investing in high-end products for demonstrations and allowing our customers to get their hands on them. Having built relationships on trust for over 25 years, the conversation is less about the price and more about finding a solution for our clients’ needs.”
that allows customers to conceptualise their space according to their bespoke requirements.”
Starting with the Yamaha 01V, Factory Sound expanded its inventory with other consoles including the Avid S6 and Allen & Heath Avantis, Qu and SQ series. An improved stockholding area contains vast amounts of Sennheiser wireless products and digital mixing consoles, with the previous stockroom being converted to an acoustically treated 7.1.4 Dolby Atmos room equipped with Genelec 8341 and
contemplating Atmos immersive mixing. TV channels 7, 9 and 10 are nearby, the post industry is located here in South Melbourne and Port Melbourne, plus Austereo and Nova are just around the corner.”
Avid’s audio applications specialist
Drew Parsons is a regular host in the new immersive space. “Factory Sound wanted to bring back the customer experience to retail, and I was looking for a space to have an Atmos system and Avid on display,” he said. “It’s not just TV and film
The projects department constitutes a large part of Factory Sound’s business today.
“Having converted the original rehearsal rooms into demo areas for consoles and DJ equipment, we’ve continued converting according to market demand,” said Jones.
“With videoconferencing taking off during the pandemic, we created a conference room
control surface. The same room hosts a live setup combining an Avid Venue S6L console and stagebox with a pair of d&b audiotechnik E8 speakers.
“It’s relatively small in size, but the space is dynamic and absolutely packed,” explained Jones. “There are a lot of audio engineers in the vicinity who are
humorous in-house promotional videos –is bucking the trend. Based on extensive product knowledge, careful listening and enthusiasm, its ability to develop and extend long-term relationships has chartered its course steadily. www.factorysound.com
A newly opened W Hotel is gracing Sydney’s Darling Harbour with its sleek, curvy exterior while inside, an AVoIP network provides a futureproof solution. Richard Lawn checks in
buildings on Darling Harbour has finally opened its doors. Featuring 588 futuristic rooms and suites, reflective surfaces, head-turning lighting and explosions of colour, the new W Hotel stands out on account of its edgy architecture and luxurious finishes. The undulating lines of the building, designed by Hassell Architects, have earned it the moniker of “The Ribbon”. Owner Marriott International has certainly carried on in the tradition of exquisitely designed, groundbreaking properties with the new W, constructed on the former IMAX theatre site below the westbound expressways.
With the hotel originally scheduled to open in 2020 but delayed until late 2023, changes in building contractors, hotel chains and systems integrators during a global pandemic failed to deter AV consultancy Reitech Consulting from going the distance. The company’s AV designs were executed by AVestar Audio Visual Services in the lobby, all-day diner, Away spa, Fit gymnasium, Living Room bar and 1,300m2 of event space. A secondary AV consultant, Unified AV, was drafted in to create a contrasting design concept for the level 29 Wet Deck with its infinity pool and two-level rooftop bar.
Specialising in AV, IT and PM technology services for businesses, Reitech Consulting was founded by Allan Smith in 2012. Well-versed in technology, broadcasting, AV, electrical engineering, ICT and network infrastructure, Reitech’s core business migrated unintentionally into the hospitality sector. Stipulating the need to consistently solve long-term problems through design and implementation, Smith attributes his company’s success to exceeding clients’ expectations. “The technology strategy significantly changed between the project commencing and completion in October 2023,” explains Smith. “I was involved in the project under Starwood, which later became Marriott, but the W brand remained even though there were delays owing to budgets and Covid-19
and in construction. Multiplex was appointed as the lead contractor to manage all the services including electrical and mechanical engineering, in addition to Buildcorp overseeing the internal fitout from guestrooms to public spaces.” Reitech Consulting proved to be a constant throughout the project. Smith attributes this to the recognition by Multiplex, Buildcorp and Greaton – the property developer that appointed Multiplex – of the company’s expertise in AV, ICT, project management and systems integration and, with hindsight, believes the delays were a blessing in disguise. Because of
changes to the general contractor and supply chain issues, he was given the opportunity to redesign his original 2018 design and technology strategy. “To minimise cabling and labour costs, that original infrastructure predominantly adopted 100V line loop technology,” he explains. “However, with advancing technology, it made sense to adopt AV-over-IP [AVoIP] capabilities. The first draft featured a top-end specification for the 2018 budget, but the subsequent redesign adds enhanced futureproofing together with plug-and-play options for added flexibility of use. The fundamentals remained the same during the design phase, but with increased AV technology throughout the property. The high-end AV specification included dedicated amplified music, audio and video as part of its identity, for which we designed a solution that now complements this unique brand.”
Above the entrance to the W lobby, the guest is greeted by silicone petals resembling those of the Australian waratah flower. Leading into the second-level reception area adjacent to a DJ lounge, prominent foreground music provides a distinctive aural role in the W Sydney’s character. “We tried to zone it and create transition zones within the design, but this proved to be challenging,” continues Smith. “As you move through the property, there’s a lot of open space that demands lower volume levels, but they may be exposed to a loud bar serving drinks.”
In addition to redesigning the entire AV infrastructure, Smith also appointed new systems integrators. Project manager for AVestar Audio Visual Services, Daniella Freedman, recalls the 12 months onsite: “Taking over from a previous contractor’s work, the W Sydney proved to be a complex project,” she says. Overseeing a team of seven technicians ranging from junior installers to electricians, Freedman’s resources were increasingly stretched as the project neared completion.
Problems awaiting onsite included the requirement to re-lay the cabling. “During the change in building contractors the cabling was damaged, so it was our responsibility to replace it,” explains Freedman. “We did not possess any blueprints or a cable schematic, so it was extremely fortunate that we discovered incomplete notes from the previous AV installer. These notes formed the basis of the BGM system we installed on the first five levels.”
Reitech’s redesign and the adoption of a Q-SYS platform was central to the success of the project. Technical Audio Group (TAG) provided invaluable support by assisting with EASE modelling. The proposed AVoIP system comprises a range of QSC products including CX-Q amplifiers, Core 510i processors, loudspeakers and touchpanel controls in addition to video encoders and decoders from Visionary Solutions. In addition to being reliable and flexible, Smith believes that QSC and Q-SYS technologies are evolving rapidly and offer improved futureproofing capabilities. “I previously relied on another AV control brand but, owing to supply chain issues, I knew I couldn’t acquire the same level of support to deliver a project on this scale,” he confesses.
Adopting QSC Strategy software, Freedman programmed the W’s AV design. “When Q-SYS became the obvious alternative, I had to quickly learn how to program the software. Fortunately, the Q-SYS learning materials and support I received from TAG were amazing. Coming from an audio engineering background, the programming is remarkably intuitive and easy to understand.”
A centralised music server provides zoned music throughout the property. Connected over fibre to a LAN Cisco-controlled
network switch, eight BGM sources are fed to the dual redundant Q-SYS Core processors. “Marriott has a dedicated audio curator team creating appropriate musical genres and compilations specifically for each hotel,” says Smith. “For the W Sydney, different genres are dynamically updated by the Marriott and distributed across specific locations and zones. Bypassing the need to rely on a human interaction, the preconfigured audio levels are also adjusted within the control software.”
Central to the audio and control processing system, the redundant Q-SYS Core 510i processors adopt Q-LAN for audio, video and control connectivity over the IP network. Bypassing the network switch, the fireman’s panel automatically cuts in should an evacuation drill or actual emergency come into effect. Fixed into two racks, a Core 510i and combination of QSC CX-Q, A80V and SPA2-60 multichannel amplifiers in 100V line operation are routed over the hotel’s Cat6a infrastructure for Dante audio management.
Designed for intelligibility, even dispersion and power handling capabilities, QSC AD 4-, 6-, 8- and 10-inch ceiling and surface-mount speakers, pendants and subwoofers provide zoned audio. On entering level one from the harbour
escalator, guests encounter multiple speaker zones, from the reception area and lobby to the VIP lounges and Living Room and DJ bars. A low-impedance speaker system provides higher DJ volumes when required.
The fitness centre, juice bar, spa treatment rooms, corridors and restrooms on level two are equipped with Q-SYS 5-inch wall-mounted touchscreen panels for local sources, output over Dante to the ceiling speakers. Level three is divided into four bars and lounges, with higher SPL requirements provided by QSC AD-P Halo 6.5-inch pendant speakers. The zones are wired back to the centralised BGM room on level two using 100V line audio distribution.
AV equipment for the large level-five function area has been provided by different suppliers. “Reitech Consulting was commissioned to design a base infrastructure for third-party plug-and-play audio, lighting and video systems, in addition to the rigging points and digital signage,” explains Smith. Many kilometres of cabling were installed to provide a high degree of flexibility.
QSC ceiling speakers provide low-level BGM for the restrooms and lift lobbies. The pre-function and other areas rely on passive and inactive audio systems, with cabling routed to two interconnected AV control rooms. Designed to minimise Cat6a cable runs, the centralised AV infrastructure is terminated at the rear of the two AV rooms on level five. “The 592m2 Great Room is essentially a big black box, which AVestar did a remarkable job in assembling,” continues Smith. “With three-phase power in the ceiling and wall panels, there is a plethora of capabilities for any AV production company servicing the room. Approximately 25km of AV and data cabling connects all the XLR inputs and outputs and there are GPIO panels connected to a dedicated lighting patch panel. Multiple customised AV wall plates and abundant floor boxes comprising audio I/Os, control, video I/Os, mic/line I/Os, data and lighting control enhance venue flexibility. For the lighting, 35 ceiling-mounted sky hooks, each capable of hoisting 500kg of lighting bars, clamps and fixtures, maintain a clean aesthetic when not in use.”
Bypassing the requirement to employ technicians, Reitech’s continued drive towards an IP strategy is significantly assisting hotel managers and staff control the AV. “One of our main philosophies is to make functionality simpler for users,” says Smith. “Background music levels can be adjusted for the required zonal ambience. Today, the capability of the audio management is dictated by the capabilities of the IP and, with Q-SYS, facility managers can simply configure the drag-anddrop images on a 5.5- or 8-inch display. A level-two display,
for example, has been designed with specific buttons for DJ, video, TV and BGM modes. At the push of a button, the audio system is instantly adjusted as the DSP configurations are set in the software, and additional portable speakers can be patched in for more amplified performances.”
Added Q-SYS plugins provide third-party control for Martin Audio speakers and QSC amplifiers. “The added flexibility works in parallel with daily hotel operations,” he continues. “When connecting a laptop or a microphone, the operator can select one single point and buttons on the GUI interface will automatically change the zone or environment for a desired function at any given time.”
Smith specified Visionary Solutions for video control over the Q-SYS network: “Owing to supply chain shortages, Visionary Solutions’ PacketAV DUETe wallplate encoders and decoders were selected for the video IP network. Like the audio, the HDMI inputs interface with the Q-SYS control via USB (KVM) and RS-232 connectivity built into the video endpoints. The visuals and digital signage solution combines LG and Samsung 55-, 65-, 75- and 86-inch displays. LG displays controlled by signage software serve as a marketing and events channel for the hotel management’s digital signage. The dual-level 29th and 30th floors, which command uninterrupted views of Darling Harbour, comprise the Wet Deck 30m pool with jellyfish mosaic design and coral-inspired lighting. Unified AV’s Pre Kistensamy, commissioned by Greaton Development, was tasked with designing a high-SPL audio system for the 29/30 bar to attract both domestic and international DJs to this lofty pinnacle. The original plan that a single Q-SYS Core 510i processor would serve the entire hotel was upgraded, with a second Core 510i adding redundancy on level 29 due to the added DJ requirements. The centralised subscription music server provides zoned music using 100V line audio and stereo low-impedance audio distribution.
delays and ensure that the audio system design would seamlessly integrate with the venue’s aesthetics. The close collaboration with TAG enabled us to overcome challenges and deliver a top-tier audio experience.”
Along the length of the pool, screened private cabanas installed with Martin Audio CDD6 enclosures host small guest groups who can sip cocktails with uninterrupted views of Darling Harbour. For DJ performances, the pool area is reinforced with a combination of wall-mounted CDD8 and CDD5 cabinets and the DJ area is equipped with higherspecification CDD-Live 12 cabinets together with SX118 subwoofers. Audio and video functionality can be accessed in the bar and DJ areas courtesy of wall-mounted Q-SYS 10-inch LCD touchscreen panels. The level 30 bar, with its superyacht décor, serves cocktails with background music
The audio system underwent a strategic redesign, with Unified AV’s pivotal role in the transformation drawing on the use of Martin Audio enclosures. “Given the grand vision of hosting international DJs and events within Sydney’s exquisite new rooftop party venue, we recognised the paramount importance of achieving a harmonious, inviting ambiance,” explains Kistensamy. “With the timeline tightening, Unified AVIT brought its expertise during the latter stages of the W project. In a strategic partnership with TAG, together with the assistance of our reliable suppliers such as QSC and Martin Audio, Unified AVIT acted swiftly to secure essential stock in preparation for project adjustments.
“In the lively soundscape of Sydney’s venues, adherence to noise regulations stands as a critical challenge,” he continues. “In this context, Unified AVIT presented a compelling argument, advocating the principle of ‘more is less’. By maximising the number of speakers within a seemingly confined space, we aimed to achieve greater control over sound pressure levels and audio quality, with an unwavering focus on delivering superior sound where it mattered most. By establishing a close partnership with the skilled architectural team, we also designed custom mounting solutions and enclosures to reduce installation
Freedman emphasises that the need to educate the end user is just as paramount as the technology. “It’s no good to simply provide ease of programming, consistent functionality and reliability,” she states. “The client requested a userfriendly platform that can be used to train people for the next 10 years, so you need to keep reminding users what buttons do. If you take pride in the project, you want the technology to work and for it to be properly used beyond the warranty date. As an integrator, you don’t want to return and see expensive technology that has never been used, so I will be returning to the W for many years to come.”
provided by Martin Audio CDD6 speakers. The entire audio system is powered by six QSC CX-Q four- and eight-channel amplifiers.
With its AVoIP infrastructure, Reitech Consulting has not only created a flexible, high-SPL and easy-to-use BGM system for the W Sydney but has incorporated numerous
Six years in the making and the doors of W Sydney are well and truly open, but careful maintenance of the AV systems will continue to be an ongoing project.
www.avestar.com.au
www.marriott.com/en-us/hotels/sydwh-w-sydney
www.reitech.net.au
www.tag.com.au
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NESTLED IN THE COUNTRYSIDE OUTSIDE HYDERABAD, Kanha Shanti Vanam is the headquarters of the Heartfulness Institute, offering free spiritual guidance, meditation and education and headed up by Kamlesh D Patel, known to his followers as Daaji. Prior to its acquisition in 2010, the 1,400-acre plot of land was a barren expanse. A huge initiative was carried out to green the site and retain water, transforming it into a diverse forested area with several reservoirs, while its buildings won an Indian Green Building Council (IGBC) Platinum award in 2019 for following environmentally friendly practices. On any given day, the ashram hosts at least 3,000 devotees staying in onsite accommodation or attending as day visitors. The ashram provides a school and play area for local children and boarders, sporting facilities such as badminton and squash courts and a heated indoor swimming pool, a large garden nursery and a tissue culture laboratory where plants are propagated.
At the heart of Kanha is a 20,000-capacity meditation hall inaugurated in early 2020, equipped for live events, livestreaming and outside broadcasts. For larger events of up to 100,000 people, extra space is provided in eight two-storey satellite pods that surround the hall, with an extensive fibre-optic network relaying AV signals out to the dormitories, cafeteria and other remote areas.
Head of production is Vikram Shrivastava, formerly a Mumbai cinematographer and follower of Heartfulness for 25 years. “I’d been volunteering with the organisation, and Chariji, our previous guru, asked me to come and work at the ashram full time, so I shifted here with my family,” he explains.
Despite the high standard to which the meditation hall and its infrastructure was constructed, there was an overwhelming issue: the audio quality. “People were very unhappy with the sound, especially those travelling from far away,” continues Shrivastava. “It was really frustrating, both for them and for us. When a spiritual leader is speaking to their followers – especially after meditation, when the heart is open – they are actually planting a seed of knowledge. If you’re not able to hear it, you can become confused and frustrated that the guruji is saying something very valuable which can’t be properly understood.”
One of the volunteers at Kanha, being interested in audio, had heard that d&b audiotechnik speaker systems were capable of optimising directivity in acoustically challenging environments. Ansata, the German brand’s Indian distributor, arranged to rig a temporary system deploying d&b components sourced from some local rental companies around Hyderabad.
“We visited the ashram and understood that speech intelligibility was the main criteria for them,” explains Ansata’s live sound application specialist, Avaneesh Darbhe. “They also hold several Indian classical music concerts each year, which aren’t loud, but the main goal again was to make sure everybody could hear well and that the quality of the music reproduction was good.”
The main challenge was the long reverberation time inside the concrete building, which is open around the sides with a roof of water-resistant fabric. Ansata suggested hanging drapes made
from sound absorption material around the low concrete walls surrounding the hall, lining the roof to dampen reflections and placing carpets on the concrete floor, while Darbhe designed a system using d&b’s smallest line array, the T Series. “We could have gone with a system that gives out higher SPLs but when we saw the show, we realised they didn’t really need that,” continues Darbhe. “Ultimately, even though they need good sound quality, it’s a peaceful place.”
Designed and supplied by Ansata, the system consists of 30 d&b T10 line array speakers: eight per side for the main L-R channels supplemented with two T subwoofers per side, four T10s per side for the first delay system around 50m from the main system, and three per side for the second delay system. Twelve 8S coaxial speakers are being used for front fill and infill around the hall, with four weatherproof E8 point sources as fill around the periphery and
who studied audio engineering at A R Rahman’s KM Academy in Chennai and has worked at Kanha for a year. “We held a big event here last month and there were about 35,000 attendees. The place was packed, so it was a good test for us, and everybody was happy listening to the new system.”
For the event, featuring Indian classical music and speech, LED displays were provided on the ground floor of the surrounding satellite pods and further T10 speakers were rented in and rigged in front of them. “It worked beautifully in tandem with the main system,” confirms Shyam.
“The sound is now so good: everyone can listen to what Daaji is saying, we can understand and, most importantly, imbibe it,” adds Shrivastava. “From day one, everybody has been able to hear the d&b system clearly and go deep into the meditative teachings. Everybody is able to maximise the meaning of those words, and that becomes life-changing.”
One of Ansata’s requirements when installing the d&b system was to have good quality copper cabling, 10km of which has been installed under the floor of the hall and out to the surrounding areas. There are 12 input panels set into the floor and stage around the hall into which microphones, cameras, musical instruments and other equipment can be patched. The Kanha team designed and constructed customised speaker poles in the inhouse fabrication workshop, along with covers for the amp racks. The job of running cable conduits was also handled inhouse, as was the construction of a large backdrop behind the stage featuring a forest scene hand-painted onto perforated gypsum board – again to reduce reverberation. The team is now designing a pulley system for the line arrays which will position and remove weatherproof covers during the monsoon season without the need to climb up ladders. “He’s a magician,” says Ansata director Leslie Lean of Shrivastava to describe the experience of working with the production head and his team. “Everything we asked them to do for this installation was done, and more. I was getting daily calls from my team to say they
As the system is often operated by volunteers, Ansata has kept the user interface simple. A dedicated laptop runs d&b’s R1 remote control software, presenting the system graphically, with faders and buttons arranged as required. “Everything is set up so that they just have to switch on the main power for the audio system, choose a setting and the show can start,” explains Darbhe. “Previously, they had to come in several hours earlier and start setting up. Depending upon the number of people in the hall, they can switch off one or both of the delay systems and the main array is enough. Only when the whole hall is filled do they unmute everything.”
Front of house engineer Jobin Shyam is certainly appreciative of the upgrade. “It’s made such a big difference,” says Shyam,
A
The high praise is fully reciprocated. “From day one we have had very good support from Ansata,” replies Shrivastava. “Whatever initial teething trouble we had, they were there to solve it for us. Leslie has a fantastic team; whenever I call them, they pick up immediately. When you install a sophisticated system like this, you need the confidence that you’re not just going to be left to it. Two of Ansata’s staff were here throughout the first big show that we did
Overlooking the meditation hall is the master control room. All the fibre-optic cabling from across the site terminates here, and AV outputs are relayed to remote locations across the ashram, sometimes up to 1km away when TV channels bring OB vans for live broadcast of VIP events. “We have dedicated cables for the outside broadcasters; they just have to patch into our connectors to get their programmes out,” explains Shrivastava. “It’s a very well thought out, premeditated design so that during big events, there is
A machine room contains the d&b amplifiers racks and all other AV equipment as well as power supplies with built-in redundancy. The production team’s choice of video equipment is largely Blackmagic Design, including the Television Studio Pro 4K switcher to which all the video signals are sent for processing and distributing across the site, to online channels and on social media. Other Blackmagic equipment includes ATEM Talkback 4K and Teranex AV standard converters and ATEM camera converters, SmartView 4K, SmartScope Duo 4K and audio monitors, Teranex Mini 12G-SDI distributors and a HyperDeck Studio 4K Pro broadcast
Events are filmed using up to eight 4K cameras per shoot, including Sony FX3, Canon C300Mark II and Sony PXW Z280 models, and drones can provide live feeds. “We can do everything in end-to-end 4K; the Blackmagic Design equipment is 4K-enabled as are our LED displays,” he continues.
With a recording studio and shooting floor nearing completion, Kanha Shanti Vanam will soon have a full complement of professional live, broadcast and recording facilities at its disposal. Now that the main hall’s intelligibility issues have been addressed, the Heartfulness Institute is guaranteed a future of professionallevel events and broadcasts, and crystal clear teachings.
www.ansata.net
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www.heartfulness.org
WHEN THE MELBOURNE RECITAL CENTRE (MRC) opened in 2009, the venue’s management realised they had to offer something special in a city already blessed with a vibrant arts scene. Originally designed to stage instrumental music in the grandeur of a world-class acoustic performance space, the MRC is now coming of age.
“We have reached an adolescent moment in the venue’s history in which we are asking ourselves who we want to be, our function in the arts landscape and our response to the changing environment,” explains head of venue operations, Jasja van Andel. “The arts community in our neighbourhood is growing. Around the corner, works on the new NGV Contemporary building and Melbourne Arts Precinct has begun. Additional facilities will bring new life to this corner of the precinct and greatly improve access to this area. However, the venues should remember that they are not competing against each other. Together, we can attract a bigger audience to the city.”
Van Andel is working with his operations team to deliver an aspirational programme of over 400 events per annum. A believer in inclusive leadership, he aims to lead from the front with fairness, Dutch directness and humour, his youthful looks betraying 30 years’ experience in the live arts. Having started his career in repertoire theatre, opera, music, ballet, dance and commercial musicals, van Andel was involved with the start-up of several major venues in the Netherlands. Specialising in live audio engineering and design, he moved
into technical management at the Barbican Centre in London. Since 2012, his career has continued to advance within the Melbourne Recital Centre.
Named after the widow of Australian newspaper publisher Sir Keith Murdoch, the Elisabeth Murdoch Hall (EMH) was designed by architectural firm Ashton Raggat McDougall and acoustic consultant Arup. The traditional “shoe box” shape seats 1,000 people on two levels, with theatre-style balconies. Downstairs, the 150-capacity Salon serves as a flexible, intimate space for concert performances, recordings, talks, receptions and dining.
The EMH can host a variety of artists and ensembles, with a focus on chamber music rather than full orchestras, and for contemporary, amplified bands. Surrounded by 250mm of concrete and mounted on 54 steel springs to acoustically isolate the hall’s structure from external vibration, the noise of the city and Southbank Boulevard ceases to exist for the audience. Further distinguished by its Tasmanian Huon Pine plywood, the stepped ceiling surrounding the stage platform enhances acoustic reflections, allowing musicians to hear themselves more clearly during concerts.
“It’s been a challenging year to date, and we have been very busy running performances in both venues,” says van Andel, explaining that the full events programme limits setup time for external engineers. “At present, we’re not blessed with luxuries such as production weeks, where you can really tinker around with settings. You only have a limited timeframe
to set up and do a soundcheck and line check. The technical systems might be capable of enhancing performance but in the end it’s about people driving the technology rather than technology driving the people. With these turnaround times, everything must work without being hindered by any barriers.”
With DiGiCo consoles connected to SD-Racks, engineers can operate over MADI, AES or Optocore. Dante is next. “Professional touring engineers can walk into the room, quickly configure the system controls and set about working on their mix,” he continues. “Touring engineers rarely need any training as they find the DiGiCo infrastructure and work surface functionality easy to navigate. During quick turnarounds, having DiGiCo is a great asset to us. If I look at the riders, DiGiCo consistently appears time and again, because it is respected across the industry and is trusted and appreciated by a large user base.”
To meet consistently high international production standards, ongoing investment in the audio inventory, including d&b audiotechnik loudspeakers, ensures that the system continues to function as expected: “I personally don’t mix anymore, but I still have a vested interest in selecting the best equipment. When I was transitioning from analogue to digital almost 20 years ago, I flirted with different brands. Over the years, DiGiCo has consistently delivered the goods. For anyone like me looking for an analogue-friendly digital console was immediately at home on DiGiCo consoles with their superior audio quality, intuitive user interface and work surface.”
The EMH was initially equipped with a DiGiCo D5 at front of house and an SD8 on monitors, with the Salon served by a smaller SD11. “It’s interesting how we still work with a hard split between the digital desks for monitors and FOH to allow the engineers to maintain 100% control of parameters such as game tracking or the overseeing of individual gauges,” he continues. “Over the years there have been various upgrades: the D5 has been replaced with an SD5; for monitors we purchased a Quantum 338 and the SD8 moved to the Salon
as a recording desk, complementing the Quantum 225 for the EMH recording suite. When we relocated the SD11 to the Salon, we purchased an SD8 for monitors in the main hall, which is now used as a recording console in the upstairs
local suppliers, such as Factory Sound, who marry great expertise with a unique personal touch,” he continues.
“Adding value to the production quality, the procurement of Riedel Bolero intercoms and a beautiful selection of Schoeps MK21 wide cardioids have initiated new supplier relationships.”
Solutions to service and update the d&b audiotechnik loudspeaker systems,” he says. This included the installation of an L-C-R system comprising T10 line array speakers with additional T10s for balcony fill. “We also work closely with
Since arriving in Australia in 2012, van Andel has formed a strong relationship with DiGiCo distributor, Group Technologies: “The consoles have proved to be incredibly reliable and world-class quality. When little glitches have occurred, Group Technologies have been outstanding and troubleshooted at every turn. As a supplier, they fully understand my business and have always got the balance between friendship and professionalism exactly right. Regardless of whether Group is working with a large corporate account or a simple order, the time and patience they invest in listening and understanding what the client requires is impressive.”
Van Andel believes that the venue is defining itself as it comes of age. “We now have a much better understanding of what the venue’s spaces can achieve, together with their limits and what they perhaps aren’t capable of,” he says. “I’m very interested in exploring a 360° surround or immersive sound experience, as this will certainly enhance the experience both in the main hall and perhaps even more interestingly the smaller-sized Primrose Potter Salon, a perfect shoebox shaped venue, where the audience can experience the full effect. I’m looking into immersive possibilities with our existing partners, namely d&b and DiGiCo, who can combine their technologies.”
MRC is now functioning at a highly efficient capacity, enabling it to handle its ongoing programme of events, and benefitting from van Andel’s powerful collective wisdom of operations, equipment and people.
www.grouptechnologies.com.au
www.melbournerecital.com.au
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In 2006, a British record producer and music executive bought land in the Thai fishing village of Bang Saray. Today, Karma Studios continues to thrive as one of Asia’s top destination facilities
JUST A 90-MINUTE DRIVE FROM BANGKOK AIRPORT, Karma Studios provides an inspirational retreat for artists looking to create in peaceful surroundings. Near the beach, and 20km from the resort of Pattaya, Karma’s location also provides ample opportunity for R&R between and after sessions. The residential studio has been consistently busy since welcoming its first client, Placebo, who recorded tracks for their 2009 album, Battle of the Sun. During a volatile era for recording studios, Karma has continued to go from strength to strength, being voted one of the world’s top 20
The Thai connection grew organically alongside this. In 1996, Craker had been asked to produce a recording for King Bhumiphol Adulayadej – himself a talented jazz musician – to celebrate 40 years on the throne. Ten more albums of His Majesty’s music followed, often working with Mom Luang Usni Pramoj, a musician and privy councillor who played in the king’s jazz band.
Having bought the land and relocated with his family, Craker worked with architects and Thai studio designer, Khun Jom Vorabutr, together with Jack Pattanatabut from Jack Sound and Khun Tre Pramoj who assisted with builders and service providers. Together, they began to convert a piece of jungle with no running water or electricity into a world-class residential studio with multiple recording spaces. Equipment was flown in from London and Los Angeles courtesy of suppliers Funky Junk and Vintage King, including a vintage SSL 4056E/G+ analogue console built in 1982 and previously owned by
Studio owner Chris Craker trained in the clarinet at the Royal Northern College of Music in Manchester, going on to perform in the London Symphony Orchestra and as a session musician for films including John Williams’ Return of the Jedi and The Phantom Menace and James Horner’s Braveheart and Legends of the Fall. Alongside this, he also played in pop and jazz sessions with Elton John, the Alan Parsons Project, Tony Bennett, Sarah Brightman and Benny and Björn from ABBA in addition to orchestral recording work. In 1998 he set up the Black Box production company, working with the same orchestras he’d played in and producing over 100 records at legendary London studio, Abbey Road. The Black Box record label came next, followed by a corporate stint as senior vice president for Sony Masterworks in New York.
During the two years it took to design and build the studios, Craker had a lot of decisions to make. One thing he was certain of was the choice of a pair of Genelec 1035Bs as the main control room monitoring system. Now, 16 years later, he has supplemented them with a pair of 8361A SAM studio monitors, the flagship of Genelec’s The Ones range. Two pairs of 8341A SAMs have also been installed into Craker’s satellite studios in Bangkok manned by his son, Richard Craker, and business partner, Steve Jones, providing tracking and programming facilities in the metropolis.
“We purchased the new Genelecs from Fuzion under the expert guidance of Tony Oates and have been truly delighted and astounded by their performance,” enthuses Craker. “They provide the perfect foil to our existing Genelec 1035Bs which I installed during the original build. I originally chose the 1035Bs as I’d been so impressed with them in Metropolis and Townhouse studios in London over the years prior to our build. I knew they’d be right for us as our main, high-power, ‘impress the clients’ monitors, and they have provided that function consistently. Recently, we were hosting DJ Snake and his production team from France, and they were absolutely loving the sounds emanating from the 1035s and The Ones.”
Another recent purchase has been a stereo pair of Pultec EQP-1S valve equalisers sourced from Kimleng Audio in Bangkok. “When we removed our SSL 4056 console due to market forces when most clients were starting to only use two channels, we did some serious comparison and blind listening tests between our UAD plugins and the corresponding hardware,” Craker continues. “We kept the hardware where we could tell the difference between the plugin and hardware and elected to bring in a brand-new pair of hardware Pultecs.”
In addition to commercial clients, the studio also develops and records artists signed to its Karma Sounds label. “We make relaxing
and sonically appropriate sleep, meditation, yoga and piano chill music, as well as lullabies for kids,” explains Craker, adding that the label has just celebrated half a billion streams over the last two years. Karma also runs two other record labels, Karma X and Beauty for Ashes, as well as an in-house publishing company, Karma Cuts, with Warner Chappell. Craker is currently in discussion with Sony about booking residential writing camps and sessions for their artists. International producers and songwriters to use the studio include Grammy winner Toby Gad, Grammy-nominated Emily Warren and Jake Gosling as well as Lauv and Phil Plested. Recruiting some of the best recording engineers in Thailand, Karma has also attracted foreign talent over the years. “We’re currently populated by British producer/engineers and we were blessed in having Shane Edwards, one of Australia’s top mix engineers, in-house for six years,” says Craker. “Occasionally, we utilise the talents of one or two of the very best local engineers for local and international acts, and we work with a healthy mixture of local and international clients. In recent years we’ve hosted Valentina Ploy and Silvy from Warner Asia, Singto Phum Viphurit, Da Boy Way and Thaitanium from Thailand as well as Sido from Germany, IAM from France, Signal from the UK, Yello Claw from Holland and Baby Metal from Japan. We’ve also worked on Hollywood soundtracks for Hans Zimmer and Chris Nolan, notably, the latter’s Interstellar. More recently we’ve completed the new George Michael biopic.”
Another recent project has afforded Craker a certain sense of satisfaction, bringing his career full circle despite his relocation across the world. “We’ve completed a three-part series for Netflix: Galaxy – The Making of Star Wars,” he reveals. “This is a nice roundup for me since I played on the original soundtracks for some of the films!”
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DRIVEN BY AN INSATIABLE DEMAND FOR K-POP, three large indoor venues have been in the pipeline in South Korea. Aiming to attract both domestic and international audiences by virtue of its proximity to Incheon International Airport’s Terminal 2 on Yeongjong Island, the Arena of Mohegan Inspire Entertainment Resort was the first to open its doors. As its first investment outside North America, Mohegan insisted on the inclusion of technologies that will facilitate and enhance ease of setup and flexibility in the 15,000-seat venue.
Truly multipurpose in nature, the arena has scheduled a variety of music concerts, awards ceremonies, esports competitions, sporting events and large-scale exhibition fairs and shows beyond 2024. Part of the vast Inspire Entertainment Resort that offers three five-star hotel towers, MICE facilities, a premium gaming facility, an indoor water park and outdoor entertainment park, plus commercial facilities for retail, dining and entertainment, the arena has an extended appeal. Touted as Asia’s “new-generation entertainment resort”, the 461,661m2 site aspires to become an unparalleled, “all-in-one unique travel and leisure destination”.
Situated on virgin land referred to as the International Business Centre-III (IBC-III), Inspire Arena is approximately one hour’s drive from downtown Seoul and a short flight from many Asian cities. In addition to enticing visitors to the resort, the operator is extolling its virtues to artist promoters and events organisers far beyond Korea. So far, so good for Inspire Entertainment Resort. With its easily configurable stage and seating structure, rider-friendly audio system, global broadcasting facilities and loading dock to assist rapid roll-ins and load-outs, the Inspire Arena clearly has an edge when it comes to hosting virtually any event.
Mohegan’s corporate director of entertainment technical operations, Kevin Reilly, continues to lead technical operations for Inspire Arena since being drafted in from the US in early 2023. “To enhance the overall experience, Inspire Arena
offers comfortable seating and an audience-friendly structure that offers optimal stage visibility from every seat,” Reilly explains. “Located under the one roof, guests can enjoy the resort’s indoor amenities before attending a show in the arena,
simultaneously unloaded at four of the docking bays with four dock levellers and automatic ramps under a canopy. A level 65m pathway from the loading bay entrance to the stage expediates the passage of flight cases. For Cirque du Soleilstyle shows, there are 48 M20 floor anchor holes to handle heavy loads. The bare arena can be rapidly transformed for any
“Four experienced crew members can build a rolling stage within two hours,” continues Reilly. “It’s like a huge puzzle in which individual 1.22m x 2.44m decks are rolled out from backstage and assembled. The flexibility of venue staging is important for designers.” When the seats are removed, a conventional stage incorporating up to 150 standard stage decks can be erected up to 70m long in landscape mode or 54m in portrait mode. If the seats remain in situ, the stage is
reduced in size. Adjustable in height from 120–210cm, each deck has a weight capacity of 1.2 tons, while 12 aluminium “heavy” decks can be used for larger set pieces.
With the stage set within the 125m x 136m structure, CM Lodestar D8+ chain hoists can be rigged quickly and safely using a SkyDeck system that covers the main floor of the arena from upstage to behind FOH. Lighting and other fixtures can be attached to any of the 52 trusses for hoisting in situ. A rigging load rating is uniformly applied throughout the arena, with a specified total equipment load rating. Designed to be rider-friendly, the venue’s lighting inventory includes an MA Lighting grandMA console surface together with a grandMA3 onPC wing XT. Moving head fixtures include 48 Claypaky Arolla profiles and 72 MIDI-B washes, 48 Terbly LED Zoom PARs, and 96 Showpro ePAR VW PARs and 48 LED ellipsoidal profiles. The event lighting comprises 150 Showpro Collider FC and 42 FOS Technology LED washes. “Should a production company prefer a choice of other sound or lighting equipment, we have partnerships with two rental houses: Sound Alliance and Live Miso,” says Reilly.
Two 2.6mm pixel pitch IMAG walls can be easily configured for use during events. SMD2121 LED display modules fixed into 240 500mm x 500mm cabinets to create a 10m x 6m (WxH) LED wall, each totalling 1,920kg. Capable of accommodating up to 24 4K60p inputs and up to 20 4K60p outputs, an Analog Way Aquilon C+ 4K/8K multi-screen presentation system and videowall processor was chosen for switching and real-time SDR and HDR conversion.
Based on experience of the brand at its US operation, Mohegan insisted on Meyer Sound for the arena’s audio system. Further to analysis provided by MAPP Online Pro software, optimum coverage placements were located for the fixed audio infrastructure. As a result, background music and general announcements such as sports broadcasts are output from 109 Lina line array modules deployed in eight arrays. Conceived for high-power curvilinear array applications, Lina is equipped with dual 6.5-inch woofers and a single 3-inch compression driver mounted on an acoustical manifold coupled to a constant directivity horn. The driver placement extends the consistent 100° horizontal polar pattern below 500Hz and the eight arrays cover up to 40m dispersion with a variance of ±3dB. For the lower frequencies, three sets of centrally suspended Meyer Sound 1100-LFC subwoofers are fixed in pairs. A further six Meyer Sound UPQ-D3 cabinets have been added together with a Meyer Ultra-X40 as a fill delay in the upper stand. “The Lina system provides excellent coverage and energy throughout the whole venue,” confirms Reilly. Adding to Inspire’s venue flexibility credentials, three portable FOH system racks can be patched in at multiple points on the arena
floor. Each one is equipped with Meyer Sound Galaxy processors and a wireless mic/IEM system, together with a MOTU 16 MADI in/out, an optical AVB interface, an Apple Mac Mini DSP and RMS Control PC, together with a Juniper EX2300 24-port LAN switch for AVB connection. A Midas Heritage-D 144-input digital console can be utilised for connecting Midas DL231 mic splitters and DL155 I/O 24-input units, together with Denon CD players and USB recorders and Juniper 24-port primary and secondary network switches.
Meyer Sound became one of the first endorsees of the Milan certification programme in 2018 with the compliance of the AVB-based Galileo Galaxy network platform. The processor offers interoperability with all other Milan-certified devices in the signal chain. As a deterministic network, Milan transports time-sensitive AV data streams in addition to other Ethernet traffic without dropouts or degradation. As an open standard, Milan offers a choice of hardware implementations and will support both audio and video media.
The Milan-certified standalone Galaxy loudspeaker processor can serve as a master FOH processor by connecting to thirdparty equipment through a certified network bridge. In addition to the standard Midas AES50 network connection, Dante and MADI networks are established with inserted Klark Teknik cards. The control room rack is equipped with two 96-hole bantam patchbays, Meyer Sound Galaxy 816 processors and a remote server monitoring set with standard network switches in addition to two 24-port AVB switches.
Incoming production companies can deviate from their bespoke tour rider and select from an extensive Meyer Sound inventory stocked for high SPL events. Stored on dollies at back of house (BOH), a touring main array of Meyer Sound Panther Long and Wide line array modules together with 18 1100-LFC subwoofers are available for hire. To connect these to the audio network of the hirer’s choice, two four-in/eight-out Galaxy 408 and two eight-in/16-out Galaxy 816 processors are mounted in portable racks with power conditioners and wireless microphone receivers. For low-frequency reinforcement, 15 1100-LFC subwoofers can be ground-stacked. Front and stage fill can be augmented with Leopard and UPQ-D1 enclosures, while MJF-208 speakers can be set up as stage monitors.
A mainstay of most tour riders, an extensive Shure ULX-D digital wireless microphone inventory was selected to serve Inspire. An inventory of nine dual-channel receivers combines with six sets of SM58, KSM8 and KSM9 handheld transmitters and battery chargers. An antenna distribution system of three UA844+ SWB distributors and four UA874XA 900MHz antennas ensures strength of signal throughout. Wired microphones include 10 sets of SM57, SM58 dynamic and Beta 87A condensers.
The extensive backstage area consists of furnished and lockerstyle dressing rooms, management offices, laundry facilities, a multipurpose room for crew catering and a training room. Two QSC Core 110f processors provide BOH signal management for the loudspeaker network. BOH communication has been entrusted to a wired Clear-Com infrastructure, including a MS-704 base and five RM-702 two-channel remote stations in addition to KB-701 speaker stations linked to RS-701 beltpacks with single-ear headsets. Additionally, South Korean manufacturer LaON was requested to supply wireless intercoms including a BS1000 base station for connecting headsets via BP850 beltpacks. An RA100 intercom antenna and four RBS85 repeaters ensure wireless signals are consistently transmitted without dropouts.
Enabling ease of broadcasting, direct SMPTE/LIMO TV connections can be mated into any of the six combination wall panels available. Each one incorporates three 12-channel audio multicores, eight single-mode opticals and three hybrid broadcast outputs. A further six camera box panels with single-mode opticals and dual hybrid broadcast outputs are located on the second level. Fibre optics installed for live broadcasts and video feeds from the arena can transmit internally to the BOH areas including the dressing rooms. “The main broadcast suite is based on Ross Video OpenGear technology,” explains Reilly. “The extensive Lemo, fibre, copper and SMPTE cabling networks are all 4K-compliant and have been immaturely conceived and futureproofed for 8K, years ahead.”
A camera phantom patchbay combines multiple fibre, XLR and analogue connectors.
A dark fibre ring installed throughout the arena allows portable racks to be patched in and activated using their own network switches. Up to 10 Sony HDC-P50 4K HDR multipurpose cameras fitted with Canon CJ25 zoom lenses are at the disposal of incoming touring agencies. Mounted onto Ross Video pan-tilt heads, the Sony 4K cameras stream over the OpenGear network via AJA FiDO twochannel SDI-to-fibre transmitters mounted on camera frame units and fibre-to-SDI receivers in the broadcast suite. Visual operations are managed from a Ross Video robotic control via the remote server. The OpenGear infrastructure includes Ross Video 600W universal frames and 12G-SDI multichannel frame Gator Syncs. The field camera system includes six Sony HDC-5500 4K HDR models outfitted with Canon 4K zoom lenses together with Sony 7-inch HD viewfinders and Clear-Com CC-220 intercom headsets. Camera control is provided by individual Sony HDCU-5500 UHD units.
The broadcast suite hosts a Ross Video routing switcher system including a 5U Ultrix-FR5 144x144 matrix and eight Ultrix-HDX 16x16 I/O boards connected to 14 12G-SDI optical transceivers.
SBS Gayo Daejeon, an annual music event televised by SBS, was held at the Inspire Arena in late 2023
adopted by the arena, including the F&B outlets located in the
In addition to internal broadcasting, an outdoor panel allows outside broadcast vehicles to connect to dual 12-channel audio multicores, Cat6 networks, 12G coaxials and 36 hybrid broadcast outputs. “When we’re hosting a sports event such as a boxing match, a vehicle can drive up and patch in fibre feeds – including outbound and backup lines – into the exterior facility panel,” says Reilly. “There are six channels of fibre routed to the broadcast link. By taking their own dedicated feed, they can broadcast over their own network and add their own commercials to a network feed return.”
Grass Valley ENS-8000K 4K NLE, Apple Mac Pro 4K OS and Ross Video XPression for real-time broadcast graphics.
The UHD production server includes Ross Video Abekas Tria+ UHD media storage and Abekas Mira+ replay systems. The analogue video setup also relies on an extensive Ross Video package with video equalising amplifiers, distributors, master sync generators and converters. A large video monitor combining eight 65-inch Samsung LCDs provides the main focal point for video operators, while communications to visual personnel are relayed over a Clear-Com HelixNet digital system.
A Ross DashBoard server forms the base of the Unified Venue control system. The graphic display servers output content via the Carbonite Mosaic processor to Ross XPN-PS projectors in addition to ribbon video nodes connected to the extensive LED wall that surrounds the outer perimeter concourse of the arena above the F&B outlets. Controlled by WinMediaTech software, a total of 16 S1 LED ribbons receive their 4K content from 16 Novastar MCTRL660 LED controllers. More commonly associated with IPTV networks in hotels, a Samsung Link cloud-based protocol has been
Just 1.5m above sea level, South Korea’s first multipurpose indoor arena on the eastern shore of Yeongjong Island is most definitely a venue that is on the edge. Beckoning a wide variety of events organisers to stage their artistic talent, the international standards and technological equipment that has been incorporated into Inspire Arena’s design structure will further enhance its appeal over time.
Reilly suggests that Inspire Arena is uniquely Korean. “During the fulfilment, some aspects were lost in translation, but we are now starting to enjoy putting the venue through its paces,” he reflects. “There is no other venue, to my mind, in South Korea that can stage a K-pop concert one night followed by a TV awards show on the following night.” The inspired design of this unique venue will lead to a wide plethora of inspirational world-class productions.
www.inspirekorea.com
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JOINTLY CONSTRUCTED BY HONG KONG SHUN TAK
Holdings and Shanghai Lujiazui Development Group, the Bank of Communications New Bund 31 is the city’s first one-stop lifestyle destination, offering performing arts venues, a shopping mall, office space and a hotel. Designed by British venue specialist Theatre Projects, New Bund 31 Performing Arts Center incorporates a 2,500m2 grand theatre – reportedly the largest indoor theatre in Shanghai – and a 1,500m2, 8m-high black box space. As the multipurpose centre was designed for music, dance, drama, musicals, fashion shows and visual art, good sound was a primary goal, and this was taken into account in the acoustic design, sound system and interior décor. Both venues have been installed with Meyer Sound main systems, with the grand theatre also featuring a Meyer Sound Constellation active acoustic system to meet the requirements of various types of performances. The system was supplied and installed by Meyer Sound’s Chinese distributor, Shanghai Broad Future, and the US manufacturer sent a number of technicians to China for alignment.
“We take music as our core focus and extend business outward,” says Liu Kai, technical director of New Bund 31 Performing Arts Center. “After research and consultation, we felt that it would be a pity if the theatre could not host classical music concerts such as symphonies, so we considered introducing an active variable acoustics system. After comparing different brands, we found Meyer Sound to be an ideal choice in terms of the project’s scale and the Constellation system’s successful references.”
The three-level, 2,500-capacity grand theatre has 1,200 seats on the lower level. An orchestra pit in front of the stage can accommodate more than 80 musicians. In addition to three levels of boxes at either side of the stage, there are five private boxes on the first level.
New Bund 31 is Shanghai’s first one-stop lifestyle destination
The Meyer Constellation system consists of 320 loudspeakers including UPM-1XP ultra-compact wide-coverage, Ultra-X20XP compact wide-coverage, Ashby-5C ceiling and UP-4Slim compact installation models and USW-112XP compact narrow subwoofers, as well as 97 customised microphones. Embedded in the ceiling, walls and stage, all speakers are placed in cavities treated with sound absorption material concealed behind acoustically transparent grilles that meet Meyer Sound’s requirements. MPS488HPs IntelligentDC power supplies provide 48V power for all the speakers in the Constellation system.
The core of the system is the Meyer Sound D-Mitri digital audio platform. Ambient sound signals are transmitted by the microphones into the DAI-24 input module, entering a processing system consisting of the DCP core processor, DVRAS processing module and DCM-4 core matrix. Calculations are made by a unique algorithm and the result is output to the 320 speakers via the DAO-24 processing module.
The original reverberation time of the venue was about 1.1s, which can be extended up to 2.5s on activating Constellation. Meyer Sound has set seven performance presets for the venue: sound reinforcement, solo, chamber orchestra, opera, folk music, symphony and chorus. The system also provides for four different stage configurations and adjusts for audience numbers. Reverberation time, warmth, brightness and acoustic intensity can be customised and saved to more than 10 presets simultaneously, along with the amount of microphones and speakers required, allowing changes to the venue acoustics with one click for different events. Fifteen 25m2 onstage LED screens can also function as sound reflection panels. A large investment went into ensuring good acoustics, with a variety of reflective, sound absorption and diffusion panels used in the interior design. As the Constellation system requires the building
itself to be acoustically treated to a high level, and there are several metro lines running nearby, the entire building is a room-within-aroom structure, with all floors, walls, ceilings and electromechanical pipelines supported by springs or rubber shock absorbers, reducing the background noise rating to NR20.
The grand theatre stage measures 36m x 18m and the proscenium width can be adjusted from 14–20m. A 540m2 area in front of the stage has 740 seats that can be removed. Six lifting platforms can elevate this area to become an extension of the stage. “The existing stage and area in front can form a larger stage, or a T-shaped configuration,” explains Liu. “We have held automobile shows where cars can drive directly into the auditorium, which is quite rare in Chinese theatres.”
The main system in the grand theatre is an L-C-R configuration with left and right channels composed of eight Meyer Sound Lyon linear line array speakers flown on top and six Leopard compact linear line arrays beneath, covering the far field and nearfield areas, respectively. The centre channel consists of six Leopard line arrays, with a set of three 1100-LFC low-frequency control elements on either side to extend the low-frequency range.
Two rows of L-C-R delay systems, with four Lina ultra-compact line array speakers for each channel, are flown from the ceiling to cover the second- and third-floor balconies. Dozens of Ultra-X42, UltraX23XP and UP-4 Slim speakers are used as fill systems for stage lips, balconies and side seats, with MJF-208 and MJF-210 wedges as mobile stage monitors. The entire system uses seven Galileo Galaxy 816 digital network processors for signal distribution.
The deployment of Meyer’s Spacemap Go software can combine the PA system with Constellation for immersive sound applications, allowing sound designers to perform multichannel mixing and change the positioning and image in real time during the performance.
The control room is equipped with two DiGiCo Quantum 7 consoles for FOH and OB, and a DiGiCo Quantum 338 monitor console is positioned on one side of the stage. All three consoles share signals from multiple SD-Rack and SD-Mini Rack interface boxes.
and sound and lighting systems. The multipurpose space can be used for corporate events, live music and drama. A mobile system of 18 Meyer Sound Lina compact line arrays and Ultra-X42 and Ultra-X23 point source speakers, as well as 750-LFC and 900-LFC compact low-frequency control elements, is available. This can be quickly reconfigured to provide different sound reinforcement systems. A DiGiCo SD12-96 and three SD11 consoles facilitate flexible deployment when the space is divided. The venue was opened to the public in October 2023, shortly after which Spanish opera maestro Plácido Domingo performed in the grand theatre. “At first, Domingo was worried that the acoustics
that there was no problem, and he was very satisfied with the final performance. As for the PA system, we staged the Broadway musical The Sound of Music here in December, and the sound engineer on the show asked us to convey his love for the sound system to the designer.”
A good start, then, for the New Bund 31 Performing Arts Center which has already established itself as Shanghai’s leading venue and a new cultural landmark for the city.
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Verve and vision are required to transform a traditional teaching space into a classroom of the future. Richard Lawn visits a successful room adaptation at ACU
WHEN ACU (AUSTRALIAN CATHOLIC UNIVERSITY) received a grant from the Victorian government to create an Innovation Hub, Anthony Whitty (director of the centre for education and innovation), Stephen Guinea (associate professor of learning, teaching and professional experience) and the stakeholder team agreed to develop the Extended Reality (XR) programme within the Faculty of Health Sciences. Planning to convert a theological teaching room on the Melbourne campus, Whitty and Guinea aimed to take
the varying concepts and requirements of multiple stakeholders was boldly taken on by AV consultant Pereira Wilson (PW).
Overseeing a health sciences faculty consisting of approximately 14 disciplines in seven campuses, Guinea is continually assessing the student experience across the entire curriculum. Aiming to increase the chance of interprofessional education, the initiative aggregated several faculties, disciplines and senior leadership together.
and visualisation spaces. Predominantly using mannequins for nursing, midwifery and paramedicine disciplines, the simulation programme has been growing since it was introduced around 15 years ago.
“Our goal was to stimulate the thought process on how content would be created differently and how students could better understand concepts that are difficult to teach, yet important to learn,” explains Guinea. Having researched activities that focus on difficult aspects of health sciences including anatomy, pathophysiology and paramedical sciences, Whitty and Guinea identified that ACU would need to replicate those challenging environments of practice. “By creating scenarios such as hospital rooms, and paramedic emergency situations including nightclubs and busy urban streets, the students would experience elevated senses and emotions,” continues Guinea. “By experiencing the added tension, nerves and panic of these reality situations, the learning experiences are significantly enhanced.”
Specialising in infrastructure projects, ACU IT project manager Richard Lewis was drafted in to engage with the project’s delivery team. Lewis’s initial task was to focus on the deliverable functionality of the space before defining what the virtual reality (VR) location was going to be. “At the outset, we facilitated the assistance of PW to streamline and convert the ideas provided by the academics to deliver a tangible deliverable outcome,” explains Lewis. “Initially developed as an IT project, the added dimensions of an immersive element, whereby students would receive visual stimuli in a surround format, demanded specialist consultancy.”
Having previously worked on other medical simulation and teaching spaces, PW had developed a trusted relationship with ACU. “Owing to the broadness of the remit, we were engaged at an early stage for this project and that allowed us to facilitate a strategy upfront,” comments Grant Bates, an AV technology specialist at PW. “With such a wide range of faculties involved, many ideas were developed by those
invited to use the space, and this collective feedback ultimately led to how the space was adapted. Although it was a challenge to please everyone, it was vital to design a space that would last and could be adapted to meet multiple requirements as they evolve. The last thing we wanted to develop was a space that would not get used.”
Multiple stakeholder meetings and workshops with a steering committee, including voting sessions, resulted in the creation of a functional brief outlining the AV technology requirements and proposed solutions. From this, four technically enabled modes to facilitate the combined teaching practices of the Innovation Hub were proposed by PW. These were Hyflex (hybrid flexible) teaching to connect local and remote teachers and students via desktop UC platforms; XR simulation to better replicate real-world experiences; virtual inductions and site tours to prepare for and maximise time during practical placements; and high impact presentation mode for applications such as 360° video explorations or data visualisation. These four modes were offered in integration with what is essentially a standard ACU teaching setup, allowing basic usage of the space without any additional training.
“To enable teachers to become familiar with the space, the incorporation of ACU general teaching standards was key to its success,” explains Lewis. “While the potential for
advanced use of this space is huge, we wanted to be sure that it would always have a purpose, so users can start small and get comfortable at a basic level before delving into some of the more advanced and exciting use cases,” adds Bates.
Blessed with good visibility, room 420.4.18 was stripped back and customised to include an oval viewing window together with custom acoustic panelling on the walls and in the roof space. Working closely with PW, Insight Systems was commissioned to integrate the hybrid technology within the Innovation Hub. Primarily functioning as a platform for placement of laptops and personal devices, a portable podium is used during presentations. Dual touch-enabled preview monitors displaying video output of the room PC and Igloo server are integrated into the design. In addition to capturing presentations and simulations for recording and conferencing, a Panasonic PTZ camera together with Shure ULX-D wireless dual microphones facilitate remote teaching practices.
A curved screen has been installed to improve engagement with the teacher for remote students in hybrid learning situations. “During the consultation process, the stakeholders could not deduce whether headsets or another type of technology should be adopted for the immersive experience,” continues Lewis. “The various concepts went through a voting process.” Visual content is provided by three Panasonic PT-RZ690B 6,000-lumen laser projectors
provides intuitive AV control in addition to environmental settings including lighting, blinds and air conditioning. Igloo Vision has been adopted to drive image mapping and content control to the 220° immersive projection. “Most of the Innovation Hub’s core equipment is based on ACU standards, but the showpiece is the Igloo immersive projection system,” explains Bates. “The local Melbourne vendor demonstrated software and applications to ACU during the early concept phase, and this allowed ACU to conduct hybrid Teams meetings and launch simulations with 360° videos.”
The provision of two 360° cameras allows ACU to create its own content for the bespoke space. Creating field recordings for immersive content, a GoPro 360 Max action camera integrates six microphones and three cameras for spherical footage, HERO-style video and photos, 360° capabilities delivering panoramic photos and 360 time lapse. Microsoft HoloLens headsets with custom software are used for AR experiences, with immersive goggles for full VR. It was important, however, that the 220° “open Igloo” projection arrangement provides audience involvement in contrast to the more individualised VR experience of a headset system. “The open side of the Igloo allows teachers and watching classmates to instruct, view and learn from immersive experiences and simulations taking place within the Igloo,” continues Bates. “Managing content sources from the server and manipulating the layout onto the projection canvas, the Igloo Vision IMP 1 immersive media player demonstrated none of the limitations associated with traditional AV media servers. PW pushed the Igloo Vision team hard to develop a user interface and workflow that would be intuitive and familiar to the vast majority of ACU users, including many advanced features hidden from the main screen.”
outputting HD and 4K content onto a customised 6m-wide cylindrical screen across 220° of seamlessly stitched projection canvas.
A Crestron AM-3100 Airmedia receiver enables wireless collaboration in the space and an HDMI presentation solution routes video inputs from sources including the dual PC outputs, multiple laptop HDMI inputs, a media server, Lumens document camera and the Panasonic PTZ camera. A ceiling-mounted occupancy sensor detects passive infrared and ultrasonic motion. Fixed to the control bench on a swivel holder, a Crestron 10.1-inch capacitive touchscreen display
Specified for its quality and reliability, the audio system has been designed around a Q-SYS Core 110f processor. The 5.1 surround sound playback is output through a QSC speaker system comprising five AD-S.SAT 2.75-inch surface satellites and a single AD-S.SUB 6.5-inch subwoofer. In conferencing and collaboration mode, reinforcement is provided by four QSC AD-C6T ceiling speakers powered by an MP-A80V amplifier. “A specialist audio programmer was specified for the commissioning to ensure that surround sound audio content from the media server was translated correctly through the DSP to the 5.1 outputs,” explains Bates. “The loudspeakers have been configured to create an internal and external zone relative to the Igloo and a subwoofer has also been included to extend the frequency response.”
“It is highly realistic,” continues Lewis, explaining that during mannequin-based simulations, changing facial expressions result from different pain responses and thresholds when digital hands press various points on the patients. “Data visualisation is supported by sourcing and outputting multiple content onscreen including diagnostics such as blood pressure and oxygen saturation. Additionally, holographic
humans in the form of medical actors are recorded in a greenscreen environment installed with over 100 recording cameras before being played back to the HoloLens and smartphones. All the different parts of the anatomy can be observed and walked through such as the heart, whereby students pass through the ventricles, valves and chambers.”
The PW team was put through its paces by the multiple stakeholders’ differing requirements. “The medical and health professionals were excited about the simulation capabilities, but the business school was more interested in connecting the campuses with remote students,” recalls Bates. “The success of the Innovation Hub results from the different immersive and extended reality applications built into the design. By transforming the space into a flexible learning room, remote participants can enter and, as a large open space, it can integrate with other virtual and enhanced realities.”
Having worked with several universities on numerous technological projects in the past, Lewis declares the Innovation Hub to be the most interesting to date: “The environment facilitates student experiences that go beyond anything I’ve previously worked on. For paramedic training, the students performing CPR or first aid response on a mannequin are absolutely in that space without any distractions. Turning up the audio levels or adding background noise, such as a roaring bushfire or a nightclub, through the 5.1 surround sound adds to the real-world experience. In addition, the room temperature, lighting and smells can be managed to not only make learning more engaging, but to add to the effectiveness of student learning.” Bates agrees, and feels equally that PW learnt a great deal working on the open brief: “This was a great opportunity for us to thoroughly investigate what technology was available on the market. When a client comes to you with a grant to spend, 20-plus opinionated stakeholders to please and a brief to create something innovative, the challenge is not in the innovation itself. It is to ensure that any innovative solution meets real needs and
serves a purpose. Navigating the internal power struggles, varying faculty priorities and preconceived technology ideas required receptive, patient and steadfast workshop facilitation that successfully brought stakeholders along the journey.”
Seeing the great potential of the completed project, Guinea firmly believes that the resultant Innovation Hub will benefit all the stakeholders for years to come. “From the start it was vital to invest in the right technologies, not only for the viability but also to add longevity into our curriculum with futureproofing,” he asserts. “Our seven campuses now have an environment with the potential to further stimulate our academic community. By delivering education differently, ACU
will stimulate its academics to further evolve engagement with its students by offering different types of experiences they could benefit from. We can now develop and deliver a curriculum offering an excellent student experience.” By careful integration of the four technical modes, this old theological teaching space has been successfully transformed into a shining example of the classroom of the future.
www.acu.edu.au
www.panasonic.com
www.pereirawilson.com.au
www.qsc.com
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Dan Daley asks: is Sphere a round peg in a square concert hole?
“OTHER THAN THAT, MRS LINCOLN, HOW WAS THE play?” That comic one-liner has been floating around since America’s 16th president was assassinated in Washington DC’s Ford’s Theatre in 1865. It’s rolled out whenever one needs to sarcastically underscore how a seemingly primary reason for being somewhere is overshadowed by something larger and unexpected.
Something like that is happening to Sphere, the megalithic venue opened in Las Vegas last year. It had a dream launch: a residency by arguably the world’s most intellectually and artistically arch band, U2, in a 15,000m2 spaceship in which an audience of up to 20,000 is enveloped by the largest, highest-resolution wraparound LED screen on earth. Sphere was touted as the beachhead for a new era of performance venue, in which the space itself was performative. It came along as the upper end of the concert touring business rebounded explosively in the wake of the long Covid shutdown. Last year saw US$9.17 billion in global show grosses, up almost 50% from sales of the previous year. A year when Taylor Swift and Beyoncé tours upwardly impacted US GDP by a measurable metric. After a couple of years of remote concerts over Zoom and other internet channels, people were again ready for
a spectacle – and prepared to pay for it, with Swift’s The Eras tour commanding $500 for nosebleed seats and as much as $7,000 for decent tickets. It seemed as though the stage was set for a venue like Sphere, one that would validate Marshall McLuhan’s dictum that “the medium is the message” on a stadium scale, in which the actual stage was tantamount to the performance upon it. So it’s surprising to see Sphere’s future schedule as derelict as it appears to be. Other than four Phish shows in April, the 1,000-plus shows listed on the schedule comprise mostly endless repeats of The Sphere Experience with Darren Aronofsky’s Postcard From Earth, which could be described as a nature documentary produced by George Lucas and Michael Bay: technically brilliant but hardly at the level of cultural intensity one might expect after the U2 shows. A venue that presented itself as the future of concert going, that pitched itself as the equivalent of VR without the goggles, has become a sort of planetarium where the representations of objects of amazement make do for the real things.
There could be a number of reasons for this. Sphere may be too cool for its own good, creating challenges for touring shows that need to be one-and-done every night. Front-of-house
mixers are confronted with a complex new aural landscape and unique PA system that may require several days of rehearsal to master. And given reviews that the four-piece U2 was hard to actually see amid millions of light-emitting diodes, not every touring artist is going to want to compete with the venue itself.
Then there’s the resurgent concert business, which has become top-heavy with major artists more than happy to stick with the global circuit of stadiums and arenas that have become the bread and butter of music’s onepercenters. Sphere could hardly be expected to book local bands or stand-up comics on otherwise dark-house nights. Even those sorts of shows would need a hefty cover charge just to turn the lights on for the night – all 1.2 million of them.
Rejecting a Sphere of its own, London’s mayor politely described the design as “bulky” and “unduly dominant” and would not “constitute good and sustainable design”. Sphere may eventually find its place in the world of entertainment venues, but it may not be the one envisioned by its creator, Madison Square Garden honcho James Dolan. It wouldn’t be the world’s first white elephant but, at $2.3 billion, it may turn out to be the most expensive one.
Phil Ward’s intuition is on the money regarding company sales and acquisitions, though not so much when it comes to Orders of the British Empire
DAVE Haydon the other day, together with Jo Boyd who handles the press and marketing for TiMax and all its derivatives. We were in a very Christmassy West End of London and found ourselves in the basement of Pizza Express on Dean Street. It’s a proper jazz basement, and singer Clare Teal and her band provided suitable accompaniment for the Sloppy Giuseppe. And the Montepulciano. Jazz is based on improvisation and is always full of surprises.
The topic of our official conversation was the recent deployment of TiMax TrackerD4 on a variety show out in the wilds of Norfolk, much too far to rendezvous in person at this time of the year, plus the presence of TiMax HARDCore FPGA in a studio demo facility just down the road in Soho. Not just any studio, mind: the former De Lane Lea and Warner Bros facility, the main part of which is now run as a showcase venue by Southby Productions.
Innocently, I asked about any legacy strategy for OutBoard. I’ve known Dave and his business partner Robin Whittaker for over two decades, and I have latterly begun to wonder if they might have considered either some way of alleviating the obvious pressures on themselves of being independent, or
of perhaps bolstering their response to the rapidly increasing competition in the fast-riffing world of spatial audio. Or both.
At this point, and you’ve probably already guessed why, Dave was fortunate in the arrival of some garlic bread, which nowadays, in the cut-and-thrust of festive catering, comes with a side salad and a non-disclosure agreement. I had absolutely no reason to pursue the subject, and so didn’t.
The following day, I happened to be on a Zoom call with Focusrite chairman, Phil Dudderidge. This time the agenda concerned the late Mickey Johnson, cofounder of Nexo and a unique influencer behind the scenes at several other brands. Mickey had a hand in raising capital for Soundcraft, Nexo and Focusrite, as well as encouraging or at least inspiring Soundtracs, EAW, Garwood and many others at critical times in their development.
Phil, who invented Soundcraft with Graham Blyth and later steered Focusrite through crucial interfaces with Pro Tools and more, was helping me compile a list of suitable candidates for an editorial tribute to Mickey, who helped to meld so many associations between complementary businesses that now look back on rich technical alliances. There was no shortage of names. Again, I asked innocuously if the Focusrite Group might
be enriching its portfolio any time soon, noting the parallels with Mickey’s legacy and the strong bonds between Focusrite, Martin Audio and the rest. Phil paused, consummately professional, and suggested I look out for an announcement the very next day. He didn’t think I’d be disappointed. Of course, there was no reason at all why I should have connected the prevarication of both Dave and Phil at this point. They had improvised with all the skill of Clare Teal’s piano player and saxophonist, and not a single NDA had been uncorked. As promised, the following arrived the next morning: “Focusrite purchases OutBoard and TiMax”. Now, all the notes were being played in the right order, and everything fell into place like pizza dough. And for me, an early Christmas present: as if Mickey Johnson was still at it, piecing together all the right ingredients and all the right chord changes. Just imagine the potential of Martin Audio’s point source heritage with TiMax, and then add Focusrite’s expertise at scaling highend pro audio for versatile, affordable solutions. No wonder Phil Dudderidge, for his contribution to pro audio, has been awarded an OBE (Officer of the Order of the British Empire) in the UK’s New Year’s Honours List. 2024 has started in the right key. Didn’t see that coming.
Forty-eight months on and The NAMM Show finally returned as a four-day expo in its traditional January slot
FOLLOWING ITS LAST OUTING JUST A LITTLE OVER NINE months ago, the 2024 NAMM Show reunited the MI, pro audio and entertainment technology communities by welcoming more than 60,000 attendees through the doors of the Anaheim Convention Centre (ACC) from 25–28 January. The four-day event had struggled to gain traction in recent years as a result of several undesirable shifts in the calendar but returned with all guns blazing this time around. With manufacturers kicking off the year by showcasing their latest innovations, the tradeshow also stimulated business opportunities and valuable reconnections as the industry continues its post-pandemic reboot.
The forecasts among exhibitors were admittedly mixed as the doors opened on day one, although most believed that a January NAMM would result in a return to normality in all aspects of the exhibition programme. A slow start on the opening day added to the anxiety levels among exhibitors and NAMM officials. Like the rays of Californian sunshine, however, breaking up the prevailing clouds over Orange County, those initial fears quickly subsided.
The once-familiar cacophony of vibrant music and exuberant visitors had returned to the aisles and remained there like a welcome dose of high pressure over the entire four days.
Last year’s ACC North Hall was a shadow of its former self. The booths at this year’s NAMM remained stunted in comparison to the 2020 format, but the pro audio halls had fully reopened this time around. There was something for everyone with demonstrations being staged on the upper level by Alcons, DAS Audio, d&b audiotechnik, dBTechnologies, EAW, Electro-Voice, LD Systems, Meyer Sound, PK Sound and QSC. The demo rooms won critical praise from exhibitors and attendees alike, their popularity no doubt boosted by their great location flanking the sides of the Upper ACC North Hall.
Despite scaled-down footprints this time, exhibitors were determined for NAMM to succeed. How many of those will return to display their wares on large-format booths next year though is another matter, as some clearly prefer the downsized networking format. Nevertheless, the consensus at the show’s conclusion was that this year’s outing had served as the necessary stepping stone to full normality in 2025.
Over the last two editions, NAMM had increasingly become a very US-focused exhibition, and so it was also heartening to see a strong complement of APAC and Latin American customers returning. Having announced their 2025 exhibition dates, NAMM and ISE have resolved the logistical nightmare that befell those exhibitors and attendees who attempted to cover both shows this year. With the 24-hour gap widening to nine days, NAMM will have room to breathe and ultimately expand.
2024 Dates: 25 – 28 January
2025 Dates: 23 – 25 January
Venue: Anaheim Convention Centre
Total exhibitors: 1,600+
Attendance: 62,000+
Contact: www.namm.org
dates with ISE, but I’ve been pleasantly surprised. I’m impressed by the new management, and some of the subtle changes they are now applying, including the new NAMM app. There is a buzz amongst visitors and it feels positive; however, there is less traffic in the halls. It will be interesting to see what the bounce back is in 2025.”
“This is the first NAMM that Sound Devices has exhibited at. With the launch of SuperNexus, our goal is to penetrate location sound, concert touring, systems integration, HOWs and other verticals. Astral is our entire wireless ecosystem and within this we have released our new generation A20. We expected to be busy and lose our voices at NAMM and, so far, this is going to plan. With the Optocore integration, there is interoperability with DiGiCo and the other Audiotonix brands.”
AFTER FOUR RECORD-BREAKING DAYS, CROWDS OF footsore visitors and exhibitors streamed out of the Fira de Barcelona at the conclusion of ISE 2024. Despite the exhaustion, most of them had doubtless been inspired and stimulated by the biggest AV show the world has to offer. Visitors were up by 27% from last year, taking the number of unique attendees to 73,891 – a record since the show launched in Geneva in 2004 –all attempting to cover as much of the 82,000m2 show footprint as was relevant, not to mention possible.
On its 20th anniversary and third Barcelona outing, the show has truly taken the city by storm. The day after ISE 2024 ended, a taxi driver informed me it had broken all previous records set at the Fira – he’d heard it on the radio. Posters and banners fluttered in the breeze well beyond the exhibition halls, while industry creativity spilled out into the city including projection-mapping onto Gaudi’s Casa Batlló, technical tours of the immersive football museum at Barça’s Camp Nou, the America’s Cup Experience exhibition in Port Vell and the Great Library of Tomorrow at Aribau Immersive Space, plus a light festival illuminating the streets of Poblenou.
With global travel well and truly back on the agenda, ISE has once again become an international show, with visitors from 162 countries in attendance, evidenced by the amount of people we caught up with from Asia, Australasia and MEA.
While Covid has thankfully become a distant memory, many current technical trends have emerged out of the pandemic, including high-quality streaming technology as well as equipment being developed for a new landscape of hybrid working, office sharing and hot desking: scaled down, simple to set up and accessible by remote workers. Meanwhile, the convergence of broadcast and AV continues apace.
AI was a trending topic across the exhibition floor and in the conferences alongside other developments such as sustainable design and the future of remote collaboration. Meanwhile, keynote presentations from multi-Academy Award-winning director Sharmeen Obaid-Chinoy and digital artists Jeroen van der Most and Sofia Crespo inspired audiences with insights into emerging trends, market dynamics and technological breakthroughs. Commemorative events celebrating ISE’s 20th anniversary, including the ISE Time Tunnel and Vintage Audio Museum, provided nostalgic reflection and pride in an industry that has
created so many historic events and groundbreaking records, as well as recognition of the technological advancements made across the decades.
Already fully booked, ISE 2025 is promising to be even bigger. Word on the floor was that next year’s show will add the far-flung Hall 8, above the demo rooms, to the floorplan, while Hall 1’s lighting and staging displays will move to Hall 6, opposite the audio contingent in Hall 7, and digital signage will relocate to Hall 4.
As the week drew to a close, it was certain that ISE 2024 had debunked one of the doubts to surface during the dark times of 2020 – do we require in-person events now we were all connecting on Zoom and Teams? Yes, we do. The AV industry positively needs forums to meet up, share ideas, demonstrate new technology and, ultimately, reinforce connections with colleagues,
friends and competitors, some of whom we’ve known and worked with for decades, some of whom are new and all of whom were joining in this celebration of an industry that has roared back to life and promises an exciting chapter ahead.
2024 Dates: 30 January – 2 February
2025 Dates: 4 – 7 February
Venue: Fira de Barcelona Gran Via
Total exhibitors: 1,408
Attendance: 73,891
Contact: www.iseurope.org
L–R: Kristine Fowler and Kim Jurgensen, QSC with TAG’s Bryan Davidson: “QSC focused on providing an experience for showcasing Q-SYS by walking visitors through various environments. As Q-SYS incorporates a large software-based control and video component, we decided to showcase its scalability and how customers can use it in years to come. We have set up a certified Microsoft Teams room, an interactive hybrid meeting room and a more interactive demonstration room, which is aimed at the entertainment and hospitality sectors. Last year we scanned 2,000 participants over four days, but we exceeded our KPI (key performance indicators) halfway through day two with many attendees registering themselves based on word-of-mouth recommendations.”
L–R: Hal Truax
Buchanan,
2024 reminds me of events pre-Covid; it’s not the new norm, it’s the old norm. We are a global company and this really is a global show. We’ve seen more end users without an AV background who are using the technology in their offices; they want something that’s plug-and-play, and Covid catapulted that drive. It’s helped us manufacturers fast-forward our roadmap to meet the new needs. We’ve all evolved quickly and there are some great solutions out there. We’re focusing on our new education matrices, Danteready products and ceiling speakers.”
and the Aimline Series of column speakers to the restof-world market. We’ve met potential new distributors and customers which will lead to new opportunities. The visitors over the four days are truly international, so it’s no longer appropriate to classify ISE as a European show. In addition to our collaboration with Aimline, we have also introduced new members to our team. This is only our third ISE, but it has been hugely successful as visitors are seeking us out.”
Ricardo Castro, RCOE global consultancy:
“I’ve been coming to ISE for over 20 years, not every edition, but almost. The platform continues to grow year after year; even last year surprised me with how busy the show was so soon after the pandemic. There are lots of nice projects coming on in the region at the moment too, so that definitely helps. I work all over the world, so this has become a good central meeting place.”
Bhavin Sureliya, Innovative Systems and
“Having ISE here is fantastic; I feel Barcelona is a better city for the show. The climate is very nice, and the accessibility and location of the show and how it has been planned and distributed across the different halls is great. I’m visiting lots of manufacturers, and the ISE app has been useful in finding the different booths. The signage and the increase in entrances and exits has improved. There is a lot of Indian participation this year.”
Olegario Pérez, Equipson:
Chandni Parikh, AVI-SPL, UAE:
“Having never been to ISE before, I’ve been thoroughly impressed. We’ve had loads of meetings on our stand but we’d also like to go out and see the demos – it’s a great place to get into the nitty gritty of new technology. The show is global and we’ve also seen loads of people here from the Middle East. Of course, we can see them on home turf, but the everyday gets in the way. Here, we can be a lot more focused.”
“It’s been a really successful show and it’s very near for us, being based in Valencia. We’ve been seeing a lot of Spanish people of course, but our international distributors and customers that came to Amsterdam are also coming here, and we’ve met new distributors and customers. Alongside the new Synthea installation amplifiers and Integra audio matrix series we’ve introduced new outdoor products, including the Arena series speakers. The demand for outdoor products grew during Covid but, now the market is more normal, there is still a demand for them.”
Nittin Dargan, Bose, UAE:
“Looking at the crowds, it felt like there were way more people attending from outside Europe than usually would. There have been many customers here from our region, so the show is truly becoming an international one. It was great to be here right at the front of Hall 7 again. There’s so much to get around in four days, if I had any suggestions for the future, perhaps it’s time for a fifth day?”
Howard Jones, Genelec:
“Access to the show has been much easier this year with more entrances, and Halls 1 and 2 opening an hour earlier. The layout is linear and logical. We are in a more central location in Hall 2 and that’s worked well for unveiling our new PoE-powered subwoofer. We’ve seen an international audience from across Europe, America and Asia, and a good spread of integrators, partners and distributors. Everyone has got used to the show being in Barcelona not Amsterdam; whenever a show moves there’s some resistance but after a few years that
Mark Gardner, Ross Video:
“We’re celebrating our 50th anniversary and return to ISE after six years, showcasing solutionsbased ecosystems of video products within sports, live events and corporate applications. AV systems integrators demand broadcast quality and reliability with the simplicity of user-friendly control for streaming content in HD and 4K. Having listened to their needs, Ross is continuing to provide ease-of-management functions such as presets for repeatable experiences, requiring significantly fewer operators.”
Joe Andrulis, Biamp:
“Our team has created a stand that engages the audience by putting the visitor first. Signage invites you in, gives you names of people on the booth and a touchpanel to select what you are interested in. There’s a call to action, such as suggesting the person you should be looking for, with a photo of them. Each exhibit is well-marked, with a touchpanel showing the different elements and stand lighting to highlight the relevant product. A QR code brings up an AI chatbot that’s been trained on our products and there’s an AI quiz in the seating area. All of these new elements have enhanced our success at this show.”
David Glaubke, Harman International:
“We’re focusing on the results of a general design philosophy that we’ve started to embrace, breaking down the silos of our processing and DSP into an open architecture. This incorporates a lot of flexibility and scalability to bring in all our different products as well as those from third parties, allowing integrators to work the way they want to. The new BSS Soundweb Omni open architecture DSP series is managed by the AVX software suite, which is also new. Visitors are very curious about this so we’ve had big crowds here at the show.”
“Dante is now incorporated into 4,000 products by some 600 manufacturers. There is a growing momentum among video companies which account for approximately 10% of this figure. We’re meeting manufacturers wanting to incorporate Dante, particularly with the API being made available with Dante Domain Manager 1.5 that provides quicker switching. Consultants, systems integrators and end users enjoy the remote functionality the software enables, so there is a need to educate and update. Dante is no longer a protocol – it’s a platform, and it’s
Patrick Hussey, Blackmagic Design:
“Blackmagic first exhibited at ISE in 2012 when we were more based in our traditional broadcast and postproduction markets. There has been a transition towards standardised workflows by AV professionals, together with a myriad of connectivity options, and these create natural opportunities for growth in the AV space. The greatest driver of the broadcast and AV convergence has been the move towards IP. We exhibit at ISE to better understand what our users require for IP network-based projects. Having drawn the appropriate audience, ISE continues to grow each year, and the organisers are constantly working to make it more reflective of the market today, bridging the broadcast and AV worlds.”
Graeme Harrison, Bluesound Professional:
“We launched the active BCS300 and passive BCS250 PoE ceiling speakers and we are also educating our customers to register for remote monitoring via the Device Cloud platform with the unified service provider, Xyte in addition to a full function wall panel touchscreen. There has been a huge amount of interest from international attendees and the show has been fantastic. I’ve not left the booth because of back-
“Following ISE 2023 when we demonstrated X1 for the first time, Holoplot has returned to the same demo room in 2024 with the same product but different content. Additionally, we are demonstrating X2 on our booth, which has led to a change in conversation with many first-time visitors who are less familiar with Holoplot. We are enjoying follow-up discussions with last years’ visitors wanting to know how X2 technology is relevant to their applications. We are turning away about 50 people per demo session as the room has no more capacity, so ISE needs to increase to five days or the demo programme must be expanded from every two hours to every hour. Consultants and designers looking at audio, video and lighting for a project, need to view experiences with all three elements combined.”
Christian Scheck, Lawo:
“We’ve tried to take the focus away from products and concentrate on solutions. We’ve been delighted to present a project we’ve just finished at the Real Madrid stadium, which is packed with Lawo products. They wanted a broadcast system that also manages all things AV, and they are also planning to host events and concerts. Everything is back to full steam ahead, and there are lots of new developments and interest in digital signal transport and distribution.”
“The thing that struck us most about this ISE is it’s truly an international show. I’ve met with as many American reps, dealers and integrators as from this side of the world. It’s the first time we’ve demoed at ISE in at least eight years, and the response has been amazing. While the setup of the demo rooms is good –they are massive and well isolated – the timings are a bit chaotic and that’s made them difficult to promote. We’d like to see them happening, say, every other
“LEA is looking at international growth, so ISE is an important aspect in expanding our global distribution
new solutions enabling us to penetrate other vertical markets. Being technology focused, there is always room to innovate and grow as LEA is a young brand.
customers enjoy our ease-of-use software interfaces,
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AN ENTREPRENEUR HANDING OVER THE REINS OF A successful, privately owned business usually has a long-term succession plan conceived over decades. Fifteen years before stepping down, AtlasIED founder Loyd Ivey was no different. Having built his businesses both organically and through strategic acquisition under the MiTek umbrella, he had the foresight to groom his son Johnathan long before he assumed the hot seat. Little did his son realise that his initial throne would be in a lofty cab hauling 40ft containers across the American highways.
Having acquired Matrecs and the American Case Company, Loyd Ivey founded the MiTek Corporation in the early 1970s. As the parent company to numerous specialised audio companies, the family-owned business has designed and manufactured commercial, mobile, residential, marine and motorsports audio solutions for 40 years without interference from outside investors. Today, MiTek is the parent of 13 companies, including MTX, with manufacturing plants in various American states and three countries around the world.
Johnathan (John) Ivey grew up in the family business. His father ensured, however, that there would be no fast track to the boardroom or presidential suite. “I cut my teeth running the Xtant car audio company,” he recalls. “It was a premium hand-crafted audio line with a business turnover of around US$10 million. We used to market it as $2 per Watt amplification and it still has a huge online following today. But, coming from a small town in
Missouri, my dad convinced me to consider other opportunities beyond cattle farms and restaurants, where our cattle got skinny and our restaurants did not do well.”
Well beyond Missouri, in Brooklyn, NY, Atlas Sound had established itself in 1934 as an early pioneer of outdoor public address loudspeakers. Merging with the residential audio brand to form Atlas-Soundolier, it specialised in the design and manufacture of commercial loudspeakers. An opportunity to purchase Atlas-Soundolier arrived, and Ivey senior canvassed his son for an opinion.
“I started looking up at ceilings and appreciated the vast amounts of commercial speakers up there, so I knew this proposition was a good opportunity for MiTek,” recalls Ivey. Understanding the benefits of diversifying within the commercial market, MiTek acquired the brand. Although its trade only accounted for roughly 5% of the total MiTek Corporation business, Loyd Ivey saw the potential in the brand and changed the name of the company back to Atlas Sound. Following the acquisition, John Ivey found a replacement to manage Xtant, enabling him to work for Atlas Sound. “The vehicle business is cool, but it was becoming increasingly difficult, so I opted into the commercial audio business as I’m equally as passionate about it.” Appointed as truck driver, he quickly realised that the silver spoon was still missing. “I’m the president of Xtant and suddenly my dad wants me to be the truck driver because I know nothing about commercial audio!” laughs Ivey. “Despite my protestations that I had been literally raised in a speaker factory, he convinced me to assume that role.”
Ivey familiarised himself with North America’s interstates and smaller roads over the next three years. “Looking back, it was a great education as I was networking with people who would go on to manage the largest systems integration companies today. I would drive in and set up at 2am before the regional manager arrived to conduct the demonstration. The following day, the manager would conduct the sales pitch
and fly back, and I’d load the demo equipment and drive onto the next city. However, this invaluable experience taught me how the industry worked, and where the consultants, integrators and manufacturers fit in overall.”
Ivey senior wanted his son to perform every job at some point, including customer service, warranty, shipping and engineering. The grassroots networking with employees placed him in good stead, as did the conversations with integrators in the field. “The integrators would highlight products that were hard to install, did not work properly or the specification was written as a design build or for consultants.” Reporting back to base, Ivey’s eavesdropping led to changes in Atlas’s specifications, ensuring its products could be better understood by field engineers.
“I’ve never stopped listening, because it is the operators in the field that manufacturers need to communicate with,” he says. “I was recently transiting through Dallas-Fort Worth airport and noticed some Atlas products that could have been better installed. I called the integrator who showed up at the gate. I had 22 minutes before my flight departed, but I asked for an explanation of the installed products before telling them how I believed it should have been done. Ten minutes later, they shook my hand, and commented that it was the first time that anyone had met them to discuss a project. They were very thankful and changed their practices. It may be unique that the owner of a company works in the field, but that’s what I love about this job.”
Operating independently of one another, but benefitting from combined executive management, Atlas Sound and Innovative Electronic Designs (IED) became sister companies in 2009. IED had forged a name for itself as an established leader of mass notification systems in airports, corporations and government institutions. “IED was selling airport solutions for many years before the Atlas acquisition,” explains Ivey. “The digital audio processors, amplifiers, graphical user interfaces, programming software and controls all operated from endpoint to endpoint as a single system solution.”
Owing to the ill health of his father, who sadly passed away in September 2023, John Ivey assumed leadership of all MiTek operations in 2016. His rounded internship both on the highways and behind the scenes in the field prompted the new president to initiate immediate changes. The sharing of R&D resources between the divisions was a primary target.
achievements to date. From 2018, the Atmosphere platform demanded multiple building blocks to be put in place including manufacturing processes, engineering divisions and newly acquired technologies. Recruitment was key. “The team I have brought in are equally as passionate about AV. By allowing them to run the individual business units, I can focus on whatever area of the business needs my attention most. I wish I could remain focused on one segment of the business, but my true passion is product design and I remain one of the lead developers of new products.” In addition to demonstrating good judgement in hiring the right people, Ivey admits to fortunate timing when Samsung opted to close its Crown and BSS/dbx engineering facilities in Illinois and Salt Lake City respectively. “There were pools of talented engineers in both locations, so I acted quickly,” he explains. “I offered these experts in amplification and DSP the opportunity to relocate to Kentucky or Phoenix. However, they are all family people, so it seemed more appropriate that we should invest in new offices at these locations. We are not in this for the short term and the creation of these new engineering departments has worked out incredibly well as the employees fit into our culture.” The new recruits ambitiously devised Atmosphere as a ground-up technology. With more technically inclined people either retiring or leaving the industry, ease of installation would become an overriding design feature. Two years in development, AtlasIED launched its digital audio platform in 2020. Offering modularity, scalability and versatility across a wide range of commercial applications, this ecosystem promotes ease of configuration, installation and operations management in comparison to traditional audio systems.
Suitable for restaurants, bars, hotels, school campuses, houses of worship and retail establishments, the platform has been engineered to enable the use of touchless control, automation and artificial intelligence. Programmed by the systems integrator, the controls of the digital audio processor populate automatically when the user’s mobile device scans the DSP’s QR code, granting access to individual parameters. Ambient noise compensation technology including multipatented algorithms is embedded into each DSP. Through data collected and transmitted by an ambient noise sensor, the DSP learns to recognise patterns, automatically raising the volume to compensate for high levels of background noise. Messages uploaded to the DSP as WAV files can be dispatched according to a pre-programmed schedule based on priority or when triggered by an input device, such as a volume or source selector. The entire Atmosphere lineup is engineered to integrate with AtlasIED loudspeakers, for which integrators can use the preloaded EQ files within the DSP to tune the speakers for their specific application. Based on user feedback, the ecosystem continues to be refined and expanded with new hardware developments and software updates.
In addition to Atmosphere, the Globalcom product ecosystem has infiltrated a large percentage of domestic transportation, healthcare, commercial and industrial applications. With increasing demands, AtlasIED has invested wisely in its existing manufacturing plants, exemplified aptly at the Ennis facility, 30 miles south of Dallas. Many industrial processes including metal stamping, laser cutting and manual press forming engineering are conducted here. “It was logical to expand the infrastructure in place, so we have invested heavily in robotics and automated manufacturing processes in Texas,” says Ivey. “We do not intend to reduce our workforce as we are increasing productivity through mechanisation to keep pace with rising demand.”
well during the pandemic and it made me rethink how we could drive our business.”
AtlasIED and MiTek vice president of global quality and manufacturing, Travis Pranschke, has played a central role in enabling the company’s growth. “When Loyd passed the reins over to John, we transitioned from being an audio manufacturer to that of a process-orientated technology company,” he explains. “Loyd was hands-on manufacturing, but John is more sales-driven and his biggest fear is running
Partnering with the University of Texas in Arlington and the Manufacturers Association for Texas, MiTek adopted Lean Six Sigma to improve efficiencies and performance by eliminating resource waste and defects. “We have improved our throughput and reduced the lead time for our customers’ orders. This has led to a reduction in inventory and although we still retain plenty of stock, we have a cushion to make it through. If you’ve got product and can either perform custom runs or quickly fulfil a large order, you can overcome a lot of supply chain challenges. Naturally, increased automation has played a large role in helping us achieve that.”
Since the dawn of the Millennium, most manufacturing in the West has offshored to China, but Pranschke highlights why MiTek decided to control its destiny by continuing to
require a team of engineers to programme the machinery. Because we are a privately held company, we reacted immediately and integrated eight robots within 10 months. Nobody was made redundant, and we managed to redistribute all 20 employees. This is unheard of at most organisations.”
By engineering efficiencies that create increased capacity, MiTek has further benefitted from exceedingly low failure rates. “Working with our OEM partners has helped us to transition from producing approximately 9,000 parts per million defects to just six,” continues Pranschke. “The integration of new practices into the overall manufacturing processes have all contributed to turn up the dial on quality. Like some other parts of the business that have grown exponentially, the waterproof speakers we supply for water sports vehicles accounts for 33% of our business now.”
In addition to taking Atmosphere to the next level of product
executive vice president Matt Czyzewski – who spent 20 years
at Biamp, working his way up to VP, was drawn to AtlasIED in mid-2022. “Matt’s combination of engineering, business development and progressive management experience made him the ideal choice to lead AtlasIED,” explains Ivey. “He understands the importance of constantly innovating to develop new and better technological solutions, and he thinks globally.”
Equally, Czyzewski recognised the fact that AtlasIED commands a very strong brand presence in North America but appeared to be less established in the export market: “When you explain to someone that we have a factory in Texas, no one knows where Ennis is. It’s hard to describe in words what goes on there, but what goes on inside those 25,000m2 is impressive. To build our international presence, AtlasIED is recruiting key personnel including Simon Godfrey, who recently became our EMEA sales director.”
Portland-based Czyzewski knows he enlisted to the cause at the right time. “You can feel an adrenaline and a buzz throughout the company from the factory floor to the senior management level,” he says. “If I was employed at a company that didn’t do any engineering or manufacturing because it outsourced resources, it would not be a good fit for my background. John should take all the credit as he has empowered us to do what we do best by removing the roadblocks, allowing us to hire the right people and acquire the right technologies.”
AtlasIED aims to strengthen its core markets including hospitality, transportation and education. “Our technological portfolio continues to benefit from continued product development, acquisitions and investments,” he continues. “As a majority shareholder in Aimline, beam steering technology is taking our Atmosphere, Globalcom and IPX Series to the next level. Beam steering had been on our radar for some time as it fits perfectly into our portfolio so, when the opportunity to acquire Aimline presented itself, the timing was right.”
Ivey has consistently endorsed his team’s convictions, including the envelopment of finite element analysis and simulation software developer, Comsol Multiphysics. However, the recent acquisition of Aimline feels like the final piece of
a big part of AtlasIED’s business,” he says. “We recognised a space in the market for a premium true point source transducer. Rather than reinvent the wheel, an opportunity arose with some ex-colleagues who had founded Fyne Audio. Active in the residential and hi-fi sectors, Fyne Audio has succeeded globally with their premium transducer technology.” The two companies merged their resources to design a range of premium point source loudspeakers for the commercial sector. “The resultant point source IsoFlare driver is characterised by a bass midrange driver sharing a common centre with the high-frequency unit,” continues Hendry. “The industrial strength and vision of AtlasIED, coupled to the artisan skills and reputation of Fyne Audio, is a winning combination for commercial audio.
AtlasIED solutions, with the Globalcom range designed for transportation applications. Rather than develop our own digital beam steering solution, which would have taken a long time and used up R&D resources, it made more sense to envelop Aimline into the AtlasIED family. By bringing beam steering manufacturing and R&D in house, we can confidently specify across multiple verticals beyond transportation, including houses of worship and conference spaces.”
Privately owned and in control of its own destiny, AtlasIED differs from competitor brands by possessing a huge potential in manufacturing and engineering. “The owner is a very ambitious and respected man who has invested in people and technology to enable the brand to sit at the
the jigsaw to Czyzewski: “Since I came onboard, I’ve been observing what technologies and personnel we need to have in house or what partnerships or acquisitions will help take us forward.”
Another industry veteran, Graham Hendry, has been appointed to the newly created role of VP of loudspeaker strategy. With more than 25 years’ experience in audio engineering and business development, the likeable Scotsman resides just three hours’ drive from Ennis. Hendry is now leading all facets of the company’s loudspeaker business strategy in addition to defining, developing and implementing product strategy.
Hendry knows a thing or two about beam steering and coaxial technology following his two decades at Tannoy specifying bespoke speaker systems around the world, including for Dubai’s largest shopping malls and iconic skyscrapers. “Covering security to commercial audio, within transportation, leisure, hospitality and retail sectors, loudspeakers now form
“True point source is where sound emanates from one point in space; that is true for the entire transducer, and not separated by physical space. IsoFlare is true point source technology that not only produces high-end audio but maintains directivity and control. With the adoption of IsoFlare technology across our entire loudspeaker range, including our latest surface mount pendants and Dante-networkable models, we can maintain consistent voicing throughout a venue. Beyond a technology partnership, we recognise the enormous potential beyond collaborating with Fyne Audio, which is another factor in why we invested in the company. Fyne Audio continues to trade in name within the residential and hi-fi domains.”
Hendry played an instrumental role in driving the partnership with German developer Aimline. “During the fulfilment of several Chinese airport projects in 2021, Aimline helped develop the beam steering capabilities for us. The company estimates that 89% of US airports are installed with
premium end of the audio market,” adds Hendry. “In the US, AtlasIED is omnipresent across all the verticals. Although we are less visible on the global stage, its full potential will be maximised in the APAC and EMEA regions by investing in people and marketing.”
Ivey is keen to return the compliments to his team. “I owe a lot of gratitude to the people that trust me to lead them into battle. By hiring people who are smarter and work harder than myself, I just need to let them do their job. We’re a nimble, family-owned company that does not have any boards of directors, shareholders, quarterly reporting or a big C-suite, and there’s no bank telling us what to do. My father was truly passionate about what he did and left us with a solid foundation. Crucially, we’re in control of our own destiny.”
The updated AtlasIED edition is now revealing the highways of the world to Ivey.
www.atlasied.com
AFC Image software can control up to 128 object-based channels of immersive sound
WHEN TORAKUSU YAMAHA WAS CALLED TO A Hamamatsu school to repair an imported reed organ in the late 19th century, a corporation was born. Bearing his family name, Yamaha Corporation dominates as a leading manufacturer of musical instruments including guitars, percussion, brass, grand pianos and keyboards.
Yamaha has also become a major international player in professional audio. Before the company started to develop live PA technology, an acoustic consulting division was created to discover the ideal relationship between performer, audience and space. Tucked away in room L104 of Yamaha’s Hamamatsu’s headquarters, this division, conceptualised in 1969, has been researching and perfecting immersive systems from content production to playback for almost four decades as well as handling acoustic design for concert halls and theatres.
By 1985, the acoustic consultants had delivered the world’s first immersive audio platform. Active Field Control (AFC) technology was developed in response to a growing need for venue diversification as demand for a wider array of events grew. Yamaha’s engineers discovered they could adjust the acoustics of a space to suit different types of performance, offering a cost-effective, push-button alternative to mechanical means of modifying room acoustics by enhancing the reverberation.
Gradually refined over the years, AFC currently features 96kHz of next-generation audio processing and space control. Currently installed in over 200 venues globally, including the Tokyo International Forum and Sydney’s Neilson Theatre, the technology was expanded in 2021, with AFC Enhance joined by AFC Image for acoustic image control. Collaborating with Yamaha’s partners Steinberg and Nexo, the solution extends from production to playback.
The dimensional reverberation control capabilities of AFC Enhance are used to create spaces in which acoustic images are positioned and moved around within the GUI of AFC Image. By controlling the feedback via multiple microphones and loudspeakers strategically located throughout the space, the technology makes use of the existing natural materials to create an acoustic loop that amplifies the room’s acoustic energy. Without adding artificial reverb to the source sound, reverberation and volume can be configured and the natural sounds of musical instruments and voices are maintained. The inline approach
uses convolution signal processing to add a variety of measured impulse responses to the mix from the microphones. By precisely varying the output balance from the system’s multiple speakers, sound can be moved to match programming and staging needs. The perceived positions of acoustic images within a space are controlled by AFC Image. With a conventional stereo configuration, the image will vary according to the listener’s position but, in an immersive setup, acoustic images can be located wherever they are needed to produce the desired effect. Unique features include a speaker zoning function that assigns object sounds to only the desired speakers within the system and
binaural output for immersive sound in headphones. Up to 32 speaker zones can be converted by AFC Image for precise control of the perceived object position.
Systems can be customised to integrate DAWs, mixers and tracking mechanisms, in addition to third-party hardware and software. Space conversion then reproduces 5.1 channel content to the loudspeaker network using a DAW so that playback can be matched to the venue. The detailed, dimensional electronic reverberation control capabilities of AFC Enhance are then used to create acoustic spaces in which the images are positioned and controlled by AFC Image. Working with Nexo NS-1 system configuration software and a range of outboard equipment, AFC faithfully delivers the content in a wide range of environments.
AFC Enhance and AFC Image can be used within a multitude of external controllers. AFC Image control devices include Rivage PM, CL and QL series Yamaha digital mixing consoles, Stagetracker by TTA, third-party media engines and tablets via a browser. AFC Enhance can be controlled from the ProVisionaire Touch and Control applications running on a tablet or by the Yamaha MCP1
Led by Yamaha Professional Solutions Division Spatial Audio Group (SAG) manager Hideo Miyazaki, the team in the two-level room L104 work with 12 cardioid and electret microphones together with 40 self-powered Yamaha speakers. “Yamaha possesses advanced digital console and DSP technology such as the DME7 digital mixing engine together with this 3D acoustical research facility that can analyse sound in real applications,” asserts Miyazaki. “The acoustic energy and feedback within the room is managed using the microphones
Relatively dead acoustic spaces with little reverberation, such as assembly halls and banquet rooms, are acoustically designed for speech. For classical music, these venues require more depth, and AFC Enhance can create an ideal sonic environment without changing the structure. A classical musician playing a cello demonstrates this perfectly for settings including a large concert hall, a cathedral, a small concert hall, a shoebox theatre
and a rehearsal room. For each scene, the reverberation can be simply managed from a tablet.
“The screening process is very important, so we need to manage the delay time for each speaker in the room, and the levels for the loop gain between the microphones and the speaker,” adds SAG’s Hiromu Ohgi. “It is important that we know how to control the soundfield. By controlling the reverberation and early reflections that have a big effect on the listener, the sound throughout the room can be adjusted while retaining the natural acoustic properties of the room’s structure. It is necessary to feed back as much energy as possible but, with
more energy being fed back, the higher the risk of uncontrolled feedback.”
For object-based rendering, the DAW or console rendering area can be converted to any configuration, from a basic cube to a 16-sided polygon within which objects can be positioned. Three layers are available with heights that can be individually defined. Therefore, objects being output from a console can be rendered and controlled within the stage area from the console. Conversely, objects being output from a DAW are rendered and controlled within the audience area.
Having relocated to the US$100m Innovation Centre headquarters in 2018, Yamaha continues to be at the forefront of the pro audio industry. Designed to accelerate pan-Yamaha development and efficiencies across a wide range of audio-related products, engineers from Yamaha’s professional audio, Unified Communications, home audio and MI divisions now work on one site. Operating in three buildings, including a seven-storey, 35,000m2 engineering facility, Yamaha is benefitting from the collaborations between different business units and more streamlined disciplines.
In addition to room L104, SAG designers have access to an anechoic chamber, speaker testing rooms with high-quality acoustic insulation, recording studios, vibration experiment and ergonomic evaluation rooms, sensory rating rooms and reverb chambers offering adjustable 0.3–1.6s reverb times.
The recording studio allows engineers to bring in any audio I/O, mixing and processing equipment they choose and another large session studio with lighting and cameras is also at their disposal. The studios and experiment rooms are connected by analogue and Dante networks, allowing remote sessions and the simultaneous recording of studio sessions in different monitoring environments.
As well as fixed installations, Yamaha’s AFC technology has been deployed at high-profile international events. “We successfully collaborated with Nexo for a sports arena at a Qatar University,” says Miyazaki. “By adopting AFC, the atmosphere of the crowd intensified and the players on the pitch were noticeably affected by the added excitement.”
A world-first in October 2021 saw the Shimizu Cultural Centre Marinart in Shizuoka City host The Marinart Forest, directed and conducted by Maestra Tomomi Nishimoto and performed by the IlluminArt Philharmonic Orchestra and Choir, with a recitation by Yoshiko Sakuma. Taking classical music beyond the boundaries of a conventional indoor concert, the venue was transformed via AFC Enhance and AFC Image into a variety of sonic locations, such as forests and cathedrals, to create a single soundscape from performers located in three places. Connected by natural sounds, various compositions were integrated into a single work. The fully immersive listening environment incorporated 50 onstage microphones and another six for AFC together with an equal number of Dante-equipped DZR10-D powered loudspeakers throughout the auditorium. AFC Enhance replicated forest, riverside and seashore ambience as well as changing seasons to match the music while, in between musical recitals, location recordings of flowing rivers, birdsong and insect sounds relied on AFC Image.
A screen in the venue’s smaller performance hall relayed Maestra Nishimoto’s conducting in real time to the 61-strong IlluminArt Choir. Here, 16 speakers and AFC Enhance reproduced the precise sonic ambience of the main hall, with the choir’s performance picked up by 13 microphones routed to a Yamaha CL1 digital mixer via Dante to the production’s Rivage PM7 digital mixing system in the main hall. The Yamaha technologies made the chorus feel – and sound –like it was singing in the main hall, while with AFC Image the voices appeared to descend from above the audience.
Remote solo instrumentalists including piccolo, piano and organ players performed in the venue’s main rehearsal room. Here, six Yamaha HS5 monitor speakers and AFC Image’s 3D reverb reproduced the sonic ambience of the orchestra in the main hall and the choir in the small hall. As with the choir, the sound of the soloists was picked up by five microphones and routed via another CL1 to the Rivage PM7, where AFC Image moved the piccolo sounds vertically and horizontally to reproduce the effect of birdsong. The concert was a breakthrough, delivering a new expression through immersive classical music and proving that audible ambience is no longer at the mercy of fixed architectural acoustics. With AFC Enhance, technicians can actively control the ambience and manage the audio parameters of any live performance in real time. Unlike channel-based immersive systems that employ a fixed speaker layout, the object-based AFC Image can reproduce an acoustic environment which is no longer constrained by the shape or size of the venue.
Having previously relied on digital reverbs to add artificial resonance to performances, AFC Enhance is winning plaudits for the natural richness it has seemingly created. A quantum leap in acoustic expression perhaps but, given the facilities and technology that SAG has at its disposal within the vast chambers of the Hamamatsu Innovation Centre, Yamaha will surely remain at the forefront of immersive audio technology.
www.yamaha.com/en
of the DS100 with Dante. Leveraging the technological power of Milan, the DS100M extends its functionality to provide an expanded range of features. These include more audio channels via Milan, MADI and word clock inputs, making it “an essential part” of a complete Milan system for both d&b Soundscape and matrix applications. Meanwhile, the D90 is the manufacturer’s new flagship amplifier. It reportedly delivers unparalleled sound quality and performance, increased system efficiency and powersaving features “which place the D90 at the forefront of advanced amplifier technology”. As well as providing maximum loudspeaker performance, it maintains lower internal temperatures at the highest output to promote long and reliable operation. By incorporating Milan networking technology, its design allows seamless configuration for redundant system setups for audio signal transport, complemented by fallback capabilities for all inputs and device communication.
d&b has also announced the launch of En-Bridge, a software tool for the Soundscape ecosystem designed so that the manufacturer can streamline the interoperability between the DS100 signal engine and leading thirdparty systems. En-Bridge is a standalone software available for Windows and macOS that provides OSC bridging and third-party
Soundscape parameters on the DS100 signal engine. It allows BlackTrax tracking systems to be used for automatic object positioning on a Soundscape system, including the latest BT-1 system, by translating the BlackTrax RTTrPM protocol into DS100 OSC commands and providing additional mapping functionality.
Meanwhile, En-Snap, the d&b Soundscape cue automation and show control software provided in collaboration by d&b and Gareth Owen Sound, has been given a major upgrade and is now available to all Soundscape users as En-Snap V3. In addition to a range of new cue automation features and show control workflow improvements, the update adds the ability to use En-Snap as a standalone sound object control user interface for FOH for all types of immersive live stage system.
The Object Viewer allows users to monitor and control the positions of sound objects directly in En-Snap, within a workflow that supports positioning and parameter editing for a single object or group selections in absolute and relative editing modes. The ability to organise the visibility of objects, background images and view sections in user-defined “view presets”, combined with options to colour objects and assign names, reportedly ensures maximum customisation. Input groups for quickly selecting multiple objects for mass editing and object linking with multiple mirror modes for group positioning provide efficiency within the streamlined, user-centric workflow of the Object Viewer, which has been designed for objectbased content creation in immersive live applications.
En-Snap supports single and multiple DS100 setups and is available for macOS and Windows. En-Snap V3 is a multi-window application with separate windows for Cue automation and Object Viewer and also provides compatibility with V1 licences and show files. To take advantage of En-Snap V3’s many features, the software must be connected to a DS100 signal engine.
www.dbaudio.com
DESIGNED AROUND transducers and simple deployment, the LA Series is a family of two-way, self-powered loudspeakers geared towards small and medium live shows, weddings, corporate events, restaurants, bars and clubs.
The series consists of four models: the 12-inch LA121 and LA123, and the 15-inch LA151 and LA153. The LA123 and LA153 are described as performance versions and feature a 3-inch voice coil compression driver to provide higher output. All four models weigh less than 22kg individually,
and the asymmetric pattern of the horn maintains high-frequency directivity and eliminates unwanted reflections in the venue. XLR in and loop output is said to make daisy-chaining multiple loudspeakers easy, while a mic/line switch simplifies setups where only the amplification of a single microphone is required. A TRS input provides flexibility with different external mixers and processors, eliminating the need for adapters, and the LA123 and LA153 use Neutrik powerCON in and loop through for secure connection to the mains’ source.
CONCEIVED AS a complete PA solution for medium-throw sound reinforcement scenarios, Audiofocus has unveiled its ARRoCC constant curvature loudspeaker series. The ARRoCC system comprises the wide-coverage CC210W cabinet and its narrow coverage twin, the CC210N, plus the 118S compact subwoofer. The CC210W and CC210N each house a pair of V-mounted 10-inch LF transducers with Tetracoil double voice coils. A 4-inch titanium diaphragm HF compression driver allows Audiofocus to employ a lower crosspoint, resulting in better dispersion and control down to the lower frequencies. Both cabinets achieve a peak SPL of 135dB and a frequency response of 55Hz–19kHz.
The CC210W and CC210N offer 25° x 90° and 12.5° x 90° coverage respectively, and can be deployed either vertically or
incorporate Audiofocus’s 3D printed Severin precision waveguide for rigid definition of coverage patterns, which the company says ensures an optimal listening experience for all audience members. Directivity can be adjusted further with a forthcoming adjustable horn plug option.
The 118S compact 18-inch subwoofer has been specially developed to complement the ARRoCC series and rigging system and has a frequency range of 30–100Hz with a peak SPL of 135dB. Supported by a comprehensive system of accessories allowing it to be stacked or flown in numerous configurations, ARRoCC loudspeakers are offered in self-powered and passive versions. Multiple self-powered cabinets can be managed remotely from any device via Audiofocus’s SCiO browser-based software.
The enclosures are lightweight, despite housing onboard bi-amplified electronics (1,500W), EAW’s Focusing and Beamwidth Matched Crossovers and DynO digital signal processing. The series also includes a monitor angle and monitor mode button that accommodate mains and monitor use in one product.
www.eaw.com
ELECTRO-VOICE HAS launched the EVERSE 12, which the manufacturer claims to be a “larger and louder” 12-inch two-way option for users looking for bigger sound than the EVERSE 8 – although maintaining the battery performance and wireless-friendly features of its 8-inch counterpart. The larger model boasts a maximum SPL rating of 126dB, a low-frequency response reaching 45Hz and 100° x 60° coverage. Said to be suitable for an array of scenarios, whether it’s a rooftop DJ set, a patio gig or expos or events, the speaker caters for both inside and out. The EVERSE 12’s customdesigned Li-ion battery pack is optimised for audio use and said to provide power for over 12 hours at an average SPL of 100dB with typical programme material or over six
hours at the maximum output level before limit indication, surpassing the EVERSE 8’s equivalent performance at 95dB.
The EVERSE 12 is equipped with an array of new features including a weatherised design, a titanium-diaphragm compression driver and true wireless stereo streaming and app control/mixing. Its woofer and titaniumdiaphragm compression driver are coupled to a patented SST ported waveguide, resulting in a significantly smaller enclosure. The app allows pairing and grouping of up to six Bluetoothequipped Electro-Voice portable loudspeakers, in any combination.
The components are powered by a Dynacord high-efficiency 400W Class-D amplifier and DSP module. Features include a built-in fourchannel digital mixer with studio-quality effects
and processing, mode/location/subwoofer presets, 48V phantom power, feedback suppression and audio ducking. Local configuration can be completed using the single-knob encoder with LCD. An integrated 12V DC port draws power from the EVERSE 12 battery, making it suitable for wireless
An ergonomically designed soft-touch handle and lightweight construction aim to simplify moving and mounting, whether it’s onto a tripod for an extended throw, set long-side-down as a stage wedge with a 55° monitor angle or placed upright with a 25° kick-back angle. An optional rain cover, as well as a duffel bag, is available for additional weather resistance.
www.amadeuslab.comDESIGNED FOR acoustically challenging environments, the CA 163 from Extron is an easy-to-mount column array speaker which features a focused vertical dispersion that directs sound to listeners instead of reflective ceilings or floors. Providing a contemporary aesthetic, it is available in paintable black or white. Designed for one person to mount securely, the speaker uses two mounting systems to accommodate different room layouts and sizes. The company includes a wall-mounting template to make it easy to accurately position – once the mounts are installed, a slot on the rear of the speaker allows it to slide up and down to the desired height. The CA 163 PT includes a pan and tilt mount for maximum speaker aiming flexibility, mount for minimal protrusion from the wall. Rooms controller or a Zoom Scheduling panel, the ZRTP Pro 1025 Series and ZRTP Pro 725
touchpanels allow users to manage the Zoom Rooms meeting experience, while the addition
with any Zoom Rooms controller. Meanwhile, scheduling display mode transforms them into room scheduling devices providing scheduling status. ZRTP Pro Series touchpanels and the users to host a videoconference and simply shades, display power and cameras from the temperature sensing, it delivers 60W across monitors power consumption while providing for tracking temperature conditions of any ambient air space or device. Housed in a compact 1U quarter-rack enclosure, it is designed to be used with an IPCP Pro xi Series control processor for secure, encrypted power control of attached devices. It can also operate independently using a secure Extron API, enabling integration for specialised applications or direct control via the built-in web page.
www.extron.com
ADDING TO the MAUI G3 Series launched last year, LD Systems has unveiled the MAUI 11 and 28 G3 MIX models. Providing an integrated six-channel digital mixer, numerous professional-quality built-in effects and convenient wireless remote control via mobile phone or tablet, the additions have been designed for performers who don’t want to bring a separate mixer to gigs, such as singer-songwriters. The manufacturer has also released QUESTRA v1.2, which includes a number of significant updates designed to improve functionality and enhance the user experience, such as improved system architecture and an expanded device library. Another new feature is Scenes, which provides global automation of actions involving all devices in a project. Other developments include an Elements Library, Widgets, Multi-selection in pre-edit mode plus
direct software upload for QTP touchpanels, which are all said to contribute to an improved user experience.
www.ld-systems.com
FORMING THE first product in the Vergence Group and aiming to set a new standard for high-performance audio products, the VGt has been unveiled by Adamson Systems Engineering. The M140 is a largeformat line array system using the manufacturer’s patented midrange technology, Class-D amplification, redundant and daisy-chainable Milan AVB and comprehensive DSP.
The VGt offers variable low-frequency coverage patterns that means users can choose from various cardioid or non-cardioid configurations to tailor coverage precisely to their needs. The system’s Autolock rigging system is said to allow a single technician to quickly and safely set up an entire system, saving time and labour costs.
Bridge closes the gap to integrate all legacy ground-amplified systems. The Optimisation
The VGt element is part of an ecosystem designed to work with Adamson’s Array Intelligence software that includes brackets, dollies, accessories and covers. Array Intelligence allows for the combination of the VGt with the CS-Series, while the Adamson
with an array of 18 VGt requiring four rack units, and only six power and network homeruns. By getting rid of most rack space and transporting all space-consuming accessories on the dolly, the company claims that the VGt forms the tightest truck pack possible, reducing environmental impact.
www.adamsonsystems.com
ePS OUTDOOR is a range of four weatherproof loudspeakers from NEXO that are engineered and tested for use in outdoor installations. The ePS6EN54, ePS8-EN54, ePS10-EN54 and ePS12-EN-54 loudspeakers partner high-excursion 6-, 8-, 10- and 12-inch LF drivers with a 1.4-inch diaphragm HF driver (ePS12/1.7-inch) in 15mm Baltic birch cabinets with a high-grade polyurethane coating. Subjected to 800 hours of salt spray testing (ISO 9227 standard) and 600 hours of UV testing (DIN 75220 standard), connections on the ePS Outdoor rear panel are via two in/out pairs of terminal blocks with an IP
the requirements of EN54-24 certification, the speakers use high-grade A4 stainlesssteel screws to UV-protected front cloth and polyurethane coatings.
Cabinets feature two M6 with 80mm pitch and one M10 fitting on the sides for mounting to a U-bracket, bumper or eye bolts, while the back of each speaker is fitted with three M6 with 70mm pitch fittings for wall mounting in both horizontal and vertical positions. NEXO’s NXAMPMK2 powered controllers include presets for ePS Outdoor to make it easy to include the EN54-rated speakers as outdoor components of a larger installation.
PROMISING TO deliver extended bass response compared to point source models of a similar size, Q-SYS has expanded its PL Series with five new loudspeakers
Bundle features the Lenovo ThinkSmart Core and ThinkSmart Controller for Teams Rooms. Pairing the UC Compute Bundle with Q-SYS’s portfolio of Certified for Teams devices will help
RCF HAS unveiled MK5 models for its ART 7 Series. Features include 132dB max SPL, 1,400W two-way peak power, DSP processing, a 3-inch titanium compression driver, a 15-inch neodymium woofer, an 800Hz crossover point and a 90° x 60° wide dispersion constant directivity horn.
listener and/or controlled coverage is not required. The series include the PL-CA5, PL-CA6, PL-CA8, PL-CA12 and PL-CA15.
Pairing them with Q-SYS network amplifiers is said to offer several benefits, from custom loudspeaker voicings and protection safeguards to advanced telemetry, helping to speed up deployment and deliver an optimal system operation experience. Beyond the PL Series addition, Q-SYS has also announced that its UC Compute Bundle for Microsoft Teams Rooms is now certified for Microsoft Teams. The bundle streamlines the design, procurement and deployment of solutions for high-impact spaces. In collaboration with Lenovo, the UC Compute
TThe ART 708-A MK5, ART 710-A MK5, ART 712-A MK5 and ART 715-A MK5 models feature
increased definition, strength and thermal
the ART 932-A MK5, ART 935-A MK5 and feature pure titanium compression drivers reduce distortions and improve robustness, while the constant directivity waveguide provides “perfect” coverage to the listening area and continuity with the woofer emission. Newly tuned presets and settings are said to take full advantage of the XBOOST algorithm for optimal sound at any volume.
systems integrators purpose-build a complete Microsoft Teams Rooms solution to the needs of any space. In addition, by installing the Q-SYS Control for Microsoft Teams Rooms application, users can add room environmental controls alongside their Microsoft Teams controls on the same pane of glass.
www.qsys.com
DESIGNED FOR a wider audience, PK Sound had developed the T8 sub-compact robotically controlled line source. Featuring PK’s patented multi-axis robotics, the T8 can attain a peak SPL of 143.5dB down to 400Hz in the vertical and horizontal planes. Designed for pairing with the T18 intelligent subwoofer, PK Cell modular touring rack and PK.dynamics control software, the T8 system incorporates inclinometers and network-based Auto-Array via .dynamics software. Enhancing the speed, safety and accuracy of any deployment, each T8 module can recognise its position and angle within the system. Robotic control, onboard DSP and network data are routed through IP65-rated connectors on the rear panel.
The three-way T8 enclosure comprises dual vented 8-inch Tetracoil transducers with custom phase plugs and a coaxial compression driver in addition to a twochannel VE15 1,400W Class-D amplifier. A
woofer, offering improved bass reproduction and high excursion capabilities. The transducers feature ultra-long excursion and four-layer ultra-light CCAW voice coils. The Italian manufacturer has also extended its NXL active column speaker series with the NXL 14-A. Available in black and white, the self-powered NXL 14-A boasts two 6-inch woofers,
The PMR 60T is a two-way 80W pendant speaker for commercial double 19-inch
come equipped with high-excursion and have been designed to be paired with the XPS 16K amplifier.
The Precision Transducers Series has expanded with seven additions, including the NDT895 and NDT995 titanium/neodymium compression drivers, and the NDX595 and NX495 1.75-inch PKX dome compression drivers. Recently released cone drivers include the LN19S400 and LN19S450 subwoofers, featuring 19-inch, high-power voice coils, and the 16-inch LN16S400
Finally, the SUB AX Series offers full DSP control and Bluetooth remote capabilities. The SUB 15-AX and SUB 18-AX models centralise loudspeaker management on the subwoofer with professional digital tools for tuning and optimisation. MK3 versions of the SUB 8003-AS and SUB 905-AS subwoofers have been updated with improved sound quality and a new polyurea coating.
www.rcf.it
between on- and off-axis coverage points, according to the Canadian manufacturer. Flown straight, the array’s directivity is configured remotely using industrial linear actuators, with vertical angles variable in 0.1° increments. A
The T8’s elongated waveguide is robotically manipulated to offer variable symmetric and asymmetric horizontal dispersion in 49 configurations, from 60–120°. Enabling the configuration of tapered arrays for unique
coverage requirements, the array’s radial directivity can be shaped remotely in real time. Indoor venues benefit from the energy being focused on the audience away from reflective surfaces in indoor venues and outdoor applications can mitigate noise pollution emissions to the surrounding residential areas. The low-profile T18 subwoofer offers peak SPLs of 140.4dB within an operating range of 25–100Hz. Sharing many internal components with PK Sound’s T218 subwoofer, the T18 features a front-loaded, long-excursion 18-inch transducer in a bass-reflex design. A large, unrestricted vent enables high SPL performance with minimal port distortion. A single, field-replaceable module on the rear of the cabinet contains the 2,700W Class-D amplifier, control electronics and power supply. DSP and Milan-ready networking are included for ease of setup and calibration. www.pksound.live
bracket is available in addition to a tabletop stand accessory for mounting on flat surfaces either horizontally or vertically. An optional Adaptive Technologies. www.theoryprofessional.com
WHARFEDALE PRO has announced the launch of two product ranges: the WLA-210XP line array system and T-Sub active subwoofers. The WLA-210XP is a dual 10-inch passive array featuring the manufacturer’s EVO-Fold waveguide and custom phase plugs to deliver a consistent off-axis frequency response. Combined, these features reportedly lead to a reduction in the usual phase issues suffered by traditional two-way line arrays caused by the physical distance between drive units.
The 18-inch T-SUB-AX18B is the latest addition to the company’s T-SUB family of active subwoofers. It has been designed to work perfectly with active tops such as the Tourus, Titan and Typhon series, delivers 900W continuous and is finished in Wharfedale Pro’s polyurea Tough-Tone paint.
www.wharfedalepro.com
TASCAM HAS released a pair of closedback headphones, with the aim of “combining quality sound with affordability”. The TH-11’s sensitivity and frequency response are said to ensure balanced sound suitable for many music genres and applications and reportedly provide clear highs, a welldefined midrange and a robust low end. Because a clean, modern look and comfort are just as important as the sound, the TH-11 features plush cushioned ear cuffs and a padded headband for long hours of comfortable use. The headphones also offer flexibility with 90° rotation on both sides, making them suitable for listening to extended recording
discs together with videos, still images and audio formats from USB memory devices and SD cards with a maximum capacity of 512 gigabytes (SDXC). A power-on play function enables playback automatically upon powering up. Combined with repeat playback, the audio/video content will start, loop and play continuously until the system power is turned off. The repeat function can be defined by chapter, title or A–B range. Avoiding visual distractions during operation, the BD-MP1MKII displays a black screen on the monitor during startup and hides status messages. Outputs include XLR connectors and RCA connectors for stereo signals, a sevenchannel output array for 7.1 surround sound systems and an HDMI output for routing audio formats including Dolby Atmos and Finally, Tascam has added to its Sonicview channels directly to an SDXC card. In regions other than the US, the optional IF-MTR32 can easily be installed into one of the two open expansion slots to enable 32-channel multirecord and markers.
100mm motorised faders and the manufacturer’s Class 1 HDIA (High-Definition Instrumentation Architecture)
architecture of the two models is the same, with 44 input channels (40 mono channels busses and the L-R main bus with 31-band
JABRA HAS unveiled a suite of updates to its latest Elite wireless earbuds, the Elite 8 Active and Elite 10. The updates include an on/off toggle for Adaptive Active Noise Cancellation (ANC), HearThrough and Sidetone features, as well as voice tone prompts. Additionally, users will be able to customise the device name of their earbuds.
Customers can also expect an optimisation for call clarity for the Elite 10 for bustling environments like offices, restaurants and
busy streets. Jabra’s latest noise suppression algorithms are designed to identify and diminish background voices. Improvements on the Adaptive ANC on an Elite 8 Active paired with HearThrough aim to be even more effective in windy conditions, thanks to noise detection technology. Updates are via the Sound+ app and will be available to all new and existing users.
www.jabra.com
JBL SRX900 Series offers a complete system solution, including speakers, subwoofers and accessories that support a variety of configurations and simplify storage, transport and rigging. The line arrays and subwoofers are self-powered so users never have to worry about matching components or lugging amp racks. Like every JBL speaker, SRX900 Series models undergo 100 hours of rigorous stress testing to ensure they will perform flawlessly and reliably in real-world conditions. Find out more about the JBL SRX900 Series at jblpro.com
POLE MOUNT GROUND STACK FLOWN ARRAY
WITH THE introduction of the ES964 boundary array microphone, Audio-Technica has extended the line of Engineered Sound solutions. Designed for ease of install, the table-top ES964 has been developed for online conferences requiring clear audio for multiperson videoconference environments, and for rooms that cannot accommodate a ceiling or hanging microphone array. Providing audio capture and control of two-way calls, the lowprofile boundary takes up minimal space on a conference table.
The ES964 employs one omnidirectional capsule and two bidirectional capsules. When combined with an Audio-Technica digital SmartMixer, the ES964 offers directional sound capture via its virtual hypercardioid and cardioid pickups, providing speaker-focused sound capture within a 360° radius. Compatible with
a range of other open architecture DSPs, the with three touch switches located on the array housing for quick mute/unmute switching. In addition, Touch On/Touch Off, Touch to Talk, Touch to Mute, and Local, Remote and LED Remote switches are provided on the main unit. Compatible with 20–52V DC phantom power supplies, the ES964 features UniGuard proprietary shielding technology for protection against radio frequency interference (RFI). Measuring 88mm x 22mm (DxH), the boundary array can be fixed to a table with a dedicated jig or with generalpurpose screws. Allowing for the capture and mixing of a three-dimensional audio image, the BP3600 immersive audio microphone is now supported in the latest released version of Flux::Immersive’s SPAT Revolution software (version 23.08). The microphone has
SHURE HAS unveiled its Microflex Wireless neXt 2 (MXW neXt 2), the latest addition to its Microflex Ecosystem. Catering for diverse and hybrid environments, such as teaching and conference spaces, it is a two-channel wireless solution that aims to be costeffective and intuitive.
To meet the requirements of a world demanding user-friendly, consistent, highquality audio, the Microflex Wireless neXt 2 features a combination of DSP capabilities
and comprehensive audio I/O connections, including USB, Dante networked audio and analogue audio. The solution has been created with a simple setup in mind – for example, mics can be paired in just a few clicks before being connected to a videoconferencing system. The Microflex Wireless neXt 2 also features a new microphone design with upgraded security, increased dynamic range and a longer battery life of up to 28 hours, meaning integrators can set up a room knowing the
Adding to its non-Dante two-channel receiver, Sennheiser now offers the EW-DX EM 2 Dante, a half-rack (9.5-inch) two-channel receiver that allows for various network modes to integrate into existing workflows. The receivers have a switching bandwidth of up to 88MHz, which can translate to up to 146 channels in standard mode and up to 293 in link density mode.
In addition, the CHG 70N-C replaces the CHG 70 non-cascading variant of the EW-DX two-bay network charger and can be cascaded
eight compact capsule assemblies integrated into the body, for capturing realistic sound in recording location scenarios. SPAT Revolution is a real-time immersive audio mix engine, in which incoming source objects, including the BP3600, can be positioned in space using a GUI.
www.audio-technica.com
space will be equipped with audio for use through long lectures and all-day workshops. Recognising the importance of confidentiality in corporate spaces, the MXW neXt 2 includes Shure Audio Encryption, based on the AES256 algorithm. This built-in security ensures audio content is protected among all Microflex devices in the room, giving both end users and integrators peace of mind.
www.shure.com
or educational environments during lectures or meetings, Sennheiser’s Control Cockpit version 7.1.0 now includes support for both the EW-DX EM 2 Dante receiver and the EW-DX CHG 70N-C Cascading Network Charger. For operators in multichannel live audio environments, the Sennheiser Wireless Systems Manager 4.7.0 now supports all EWDX products for setup, monitoring and control, while Sennheiser’s Smart Assist App version 2.1.1 provides automated setup, operation
and monitoring of smaller setups on any iOS
Following a strategic partnership, Sennheiser’s
Automate VX voice-activated speaker tracking.
dynamic beamforming technology ensures speakers are continuously heard. Sennheiser says that with the integration of the complete Sennheiser TeamConnect Ceiling Family into Crestron’s Automate VX technology and the Intelligent Video Designer software, integrators can now streamline the setup of larger systems,
CHG 70N-C
the room work together to track active speakers while removing distractions that are visible when a camera pans, tilts or zooms. The integration means that as the conversation moves around the room, the TCC M’s patented automatic
40m², it can be surface-mounted, suspended or flush-mounted to allow for cable-free tables and flexible furniture arrangement.
www.sennheiser.com
BLAZE AUDIO has released four PowerZone Connect eight-channel amplifiers. The PowerZone Connect 508, 1008, 4008 and 6008 are powered by Pascal UMAC Class-D technology and are available in 1U (PowerZone Connect 508/1008) and 2U (PowerZone Connect 4008/6008) form factors.
The amplifiers can power both conventional low-impedance (508 and 1008: 4–16Ω/4008 and 6008: 2–16Ω) loudspeakers and constant voltage (70V/100V) transformer-coupled loudspeakers. They also feature automatic power-sharing technology for proportional distribution in both Lo-Z and Hi-Z modes. All models also incorporate Blaze Audio’s DSP web app controller, PowerZone Control, for an “intuitive” system setup.
The PowerZone Connect eight-channel amplifiers range from total power of 500–6,000W, with the PowerZone Connect 4008 and 6008 exceeding 3,000W, making
models to reach this power rating. They all offer eight balanced Euroblock inputs and eight unbalanced RCA Phono inputs. They also include S/PDIF digital audio I/O with routing that can be configured via the PowerZone Control web app, a configurable GPIO (General Purpose I/O), along with eight configurable loudspeaker outputs that use Euroblock connectors.
The manufacturer has also announced that its PowerZone Connect amplifier series units are now available as Dante-equipped models. Dante AoIP compatibility caters to the demands of networked audio systems requiring up to 4x4 channels at a sample rate of 44.1kHz and 48kHz. Launched in 2022, the four PowerZone Connect models currently include the 122D (125W/two-channel), 504D (500W/fourchannel), 2004D (2,000W/four-channel) and 3004D (3,000W/four-channel) amplifiers.
and ceiling channels in Dolby Atmos professional installations. When bridged and configured as a four-channel amplifier, the
and set up any number of amps.
www.pmc-speakers.com
BRITISH AUDIO manufacturer Optimal
Audio is expanding its footprint in the commercial audio sector with the launch of the Amp series, featuring three high-power Class A/B amplifiers. Housed in compact 2U enclosures, the Amp 100 is a 2x350W at 4Ω, the Amp 200 is 2x700W at 4Ω and the Amp 300 is 2x1,350W at 4Ω. All three are available in both 120V 60Hz and 230V 50/60Hz models. Designed to power the complete suite of Optimal Audio’s Cuboid
limiters and time of day routines. These can be managed via Zone’s onboard WebApp. Users can monitor and control performance via Optimal Audio’s intuitively designed front panel, which features indicator LEDs for status monitoring of each amplifier channel. Meanwhile, versatile input connectors boast two balanced XLR/¼-inch jack combi line input connectors, while output options include speakON or binding posts. The amplifiers can be configured for a variety of
TRANSDUCER MANUFACTURER, Lavoce Italiana, has added a 15-inch ferrite common HF/LF magnet coaxial in the form of the CSF153.00K to the existing four smaller models in the CSF range, which are further characterised by a low distortion “dual gap” motor. Measuring 700W program power handling and 98dB sensitivity, the LF woofer incorporates a 3-inch edge wound copper voice coil on a glass fibre former. Recording 120W program power handling and 108dB sensitivity, the HF polyimide diaphragm and surround uses a 1.75-inch edge wound copper-clad aluminium voice coil on a Kapton former. The combination promotes operation over a 50Hz–20kHz frequency range with low harmonic and intermodulation distortion with the incorporation of double demodulating rings.
In addition, the Italian designer has created a neodymium magnet compression driver as part of its growing range of premium large-format HF devices. The DN20.300T is a 2-inch throat version of the DN14.300T 1.4-inch throat model with a 3-inch voice coil. An optimised throat adaptor that expands the exit to 2 inches offers improved thermal dissipation from the motor to the horn by increasing the adaptor surface area in direct contact with the driver motor. The electroacoustic design features a 3-inch edge wound copper-clad aluminium voice
CSF153.00K
Integral Input Surface phase plug topology provides a smooth input surface on the phase plug to remove unwanted resonances in the critical high-pressure area.
A range of high-output woofers are now shipping in the form of the WAN082.02 (neo 8-inch, 400W), WAN143.00 (neo 13.5-inch, 700W) and WAF153.03 (ferrite 15-inch, 1,000W). All three models feature aluminium baskets for multi-way systems and have been developed using Lavoce’s LF Loudspeaker Design Suite which combines various aspects of design (lumped parameters, electromagnetic, suspension, vibroacoustic and thermal) into one simulation model. Optimised to exhibit a smooth frequency response and low distortion, the WAN082.02 comes with a 2-inch copper voice coil, 96.5dB sensitivity, 5.8mm Xmax and a frequency range of 80Hz–5kHz. Other key features include a copper ring for extended frequency response and a waterproof treatment on the front side of the cone. Characterised by its neo slug magnet design, the WAN143.00 incorporates magnetic shielding and the WAF153.03 includes an aluminium demodulating ring for reduced distortion.
DN20.300T
www.lavocespeakers.com
THE NEUTRIK Group’s Contrik brand has expanded its CKPE series of power multicore cable assemblies with the Harting E16 and Socapex SL 419 compatible Power Multicore connection cables, and the Socapex SL 419 compatible singlephase powerCON TRUE1 Power Multicore Split cable assemblies. Specified for use in videowall, lighting and audio applications, the rewireable power multicore cable assemblies complement Contrik’s portable power distribution systems and are DIN 15765 standard-compliant for mobile event production. The expanded Power Multicore cable range offers six- and eight-channel Harting E16 connector variants and a six-channel LKS 19 (Socapex SL 419 compatible) connector variant, while the Power Multicore Split cable features an LKS 19 male to 6x single-phase powerCON TRUE1 female connector. The
the cables’ increased PE-conductor crosssection improves reliability which extends to operation across a range of –5°C to +70°C, and all offer high IP protection ratings in mated condition – IP65 in the case of the Harting E16 connectors and IP68 for the LKS 19 connectors. The assemblies are available in standard lengths from 5–40m.
www.contrik.com
DISTINGUISHED BY its compact aluminium housing, an etherCON socket and an 800mm long four-channel splitter, Klotz AIS has created the CATLink Series of mini multicore systems. Signals can be transmitted over a shielded
network cable up to 100m and each model features four analogue audio signals (mic, line), eight digital audio signals (four AES/EBU) or four DMX/MIDI. Enabling a 2/2-channel sendreturn line without additional XLR adapters, the
AS RECOGNISING and identifying cables during an installation becomes increasingly important, Tasker has developed a range of products with particular colours. Available in orange, yellow, green and blue, the four FLUO cables are joined by a transparent brown version that enhances the range’s underlying shielding. All of the products are available in reels of 100m and mini reels of 10m and 20m. They come with a rubber sheath effect,
instruments, with 1x0.5mm² section and “carbon screen” technology; and the T32 2x0.22mm² microphone cable.
The manufacturer has also released a series of pre-made audio cables. The Premium Series consists of eight different configurations, each available in different sizes from 1–12m. The various connectors associated with the range are all 24-carat gold plated and wired by hand. Both stereo and mono 6.3 and 3.5 jack connectors,
CATLink Mini 2/2-channel adapter (CLAESMINI22..) is equipped with two XLR 3p. male and two XLR 3p. female connectors. A flexible digital cable with a small outer diameter has been specially developed for the CATLink Mini as a mic/line/AES patch cable. Other product variants include the XLR 3p. (mic, line, AES/EBU), XLR 5p. (DMX) and TRS (line) and individual channels can be easily identified by the clear channel labelling, colour coding and laser engraved XLR connectors. With the CAM311 series, the German manufacturer has also added SMPTE/ARIB camera cables for mobile use and for studio cabling. Featuring bend-resistant fibres and a temperature-resistant PUR jacket, the CAM311P has been designed for mobile studio and outdoor applications. An FRNC version (CAM311H) has been adapted for fixed installations and indoor cabling. All SMPTE camera cables are available by the metre or pre-assembled with connectors from the LEMO 3K.93 C series, Neutrik
FOCUSING ON use in extreme and adverse outdoor influences, Cordial’s CLA LL 4 and CLA LL 44 loudspeaker line array cables are designed to perform in weather conditions of extreme heat, cold and precipitation. Whether laid on the floor with no additional protection or suspended between line array systems in open-air weather situations, the Titanex bulk cables comply with the so-called “heavy rubber hose cables” (H07RN-F) standard. Equally capable in temporary outdoor use and in permanent installations within public spaces such as sports arenas, industrial as well as flame retardant. They contain standards.
integrated, the H1P.. and H3P.. hybrid cables combine both mains and data wires in a single cable. Based on the HC72P15 and HC72P25 hybrid models, the H1P.. and H3P.. pre-assembled cables are ideal for connecting computer-controlled devices. Two flexible Cat7 cables connect components of digital audio networks including Dante, CobraNet and EtherSound or transmit DMX control signals based on the Art-Net, MA-Net or Pathport protocol. Capable of transmitting high data rates over long distances without interference, the cable can be applied in IT applications where a network connection plus power line are required. The Cat7 cables are protected within double aluminium foil and copper braiding shielding.
To mark its 45th anniversary, the manufacturer has also redesigned the Joe Bonamassa Signature cable, adding a cable tie and Neutrik connectors with abrasionresistant “Joe Bonamassa” laser engraving and hard gold-plated jacks. The cable is now optionally available with the Neutrik SilentPlug for noiseless instrument changes.
www.klotz-ais.com
Assembly is manufactured according to VDE guidelines, while Cordial uses Neutrik speakON connectors which also meet all required standards. Conductor cross-sections of four 2.5mm² (AWG14) for the CLA LL 4 and four 4mm² (AWG12) for the CLA LL 44 ensure the cables meet all signal transmission expectations. Meanwhile, transparent shrink on tubes at the cable ends ensure easy labelling. For a wide variety of application scenarios, the products are available in diverse lengths ranging from 0.5–30m.
www.cordial-cables.com
POWERSOFT HAS released Verso, a gateway device designed to connect all of its current products to its MyUniverso cloud platform. The Verso gateway helps systems integrators and IT managers take full advantage of the MyUniverso cloud platform.
Formerly known as Universo, MyUniverso has now merged into MyPowersoft, ensuring that all users with MyPowersoft accounts can access the cloud platform.
Verso is a half-rack device designed to enable access to the MyUniverso cloud platform and all its related functionalities for the entire current Powersoft amplifier portfolio, allowing monitoring and centralised remote firmware updates for all connected amplifiers, as well as supporting Powersoft’s Dynamic Music Distribution (DMD) solution.
Verso’s logging and data storage capabilities reportedly ensure local continuity or service, even during internet outages. It also
incorporates the Easy Swap procedure, introduced as part of Unica’s features last year, making it “simple and convenient” to address any service outage swiftly, in the rare event of a malfunction. The gateway device is compatible with third-party cloud platforms, providing users access to baseline cloud project backend information. Additionally, through Verso it is possible to access MyUniverso’s remote firmware update functionality, minimising the need for repeated trips to installation sites. In other news, the manufacturer’s Unica Series now benefits from the addition of DMD functionalities, previously exclusive only to Mezzo. With the launch of the lower-power Unica 1K8 and Unica 5K4 models and the addition of DMD features, Powersoft is boosting the “one size fits all” nature of the Unica platform.
audio output across multiple zones. Aimed process to larger installations with a variety of different areas, such as department stores, supermarkets, gyms, conference rooms and hospitality.
The eight-channel Integra is delivered with Integra 8S, a free native parameter management software offering function control on inputs and outputs and configurable DSP architecture for each channel. The software includes controls for input and output gains, expander, compressor, parametric equalisation, limiter and anti-feedback on each channel. Its visual matrix and automix module mean
16+ and the 32-channel Integra 32+ both for iOs and Android. The series is also supported by a WC 3U Wall Control unit with an OLED screen and built-in rotary button/push button, which is designed for simple and complete programming through the Integra 8S and Integra Plus software. Housed in an aluminium casing, the Wall Control unit also features TCP/IP and UDP communication capabilities, making it easy to integrate into a variety of systems. Additionally, it is powered via PoE (Power over Ethernet) to simplify installation.
DESIGNED SPECIFICALLY for multispeaker arrays ranging from stereo to 9.1.6 setups in large studio complexes and education facilities, Audient has introduced the Oria audio interface and monitor controller. Oria is equipped with 16 outputs via TRS or AES, two relayed switched stereo outputs, two headphone outputs, BNC Word
partnership between the UK manufacturer and Sonarworks ensures that a room can be measured and calibrated within an hour. As part of the Oria package, a Sonarworks Reference Measurement microphone and a 60-day free trial of the SoundID Reference for Multichannel software are included. Following calibration, full control of stereo,
www.equipson.es
SoundID Reference profiles can be directly downloaded into Oria’s hardware. The
www.audient.com
EXPANDING ITS commitment to electronic audio testing, Audio Precision’s APx516B audio analyser is designed to better reflect today’s diverse audio landscape by bridging analogue and digital audio testing. With a digital interface slot to allow adaptation to changing requirements, the APx516B is a modular product that can adapt to the needs of extended R&D teams and production test engineers.
An analyser for both digital and analogue audio, it features two analogue generator/analyser channels capable
FRENCH AUDIO equipment manufacturer
Digigram has announced the release of a Dante sound card as part of its ALP-X range. Available from Digigram’s network of distributors, the ALP-DANTE is the sixth addition to the fast-growing range of ALP-X sound cards launched in 2022.
The ALP-DANTE card’s low-profile form factor is coupled with a fanless design. The card has been designed for applications where space and reliability are key factors. In addition to the two Ethernet ports which provide a seamless
Dante network redundancy for situations where reliability is paramount, the ALP-DANTE has two Ethernet switch ports for easier connectivity to other Dante/AES67 devices. Several cards can be installed in the same workstation to increase the channel count and deploy large structures. In addition, the ALP-DANTE operates under Windows and Linux environments to address multiple applications, regardless of the operating system.
www.digigram.com
of testing both consumer and pro audio devices.
Its digital interface module slot is compatible with all current and future AP digital audio I/O modules, including support for Bluetooth, HDMI2, I2S/TDM, PDM and S/PDIF, Toslink and AES3. The APx516B also integrates with APx500 measurement software, providing a comprehensive library of measurements available with compatibility across all APx analysers.
CLEARONE IS aiming to provide integration partners and end users with added flexibility in system connectivity with the introduction of its Versa USB22D Dante adapter. Enabling customers to directly connect any computer to a Dante network without first requiring software installation, the Versa USB22D adapter can be used with any audio application for playback or capture and is suitable for a wide range of small and mid-sized meeting spaces, including executive offices,
conference rooms, classrooms and lecture halls for Bring Your Own Meeting (BYOM) audio and videoconferencing and in-room presentations.
The Versa USB22D adapter supports two input and two output channels of audio, allowing PCs and mobile devices to play and capture audio with Dante-enabled devices over a standard IP network. Users can automatically discover and configure the adapter using Audinate’s Dante Controller software.
US WIRELESS audio specialist Lectrosonics is keeping legacy users in the loop with its SRDB25AES Digital Output Adapter for SR Series receivers. The adapter converts receiver analogue audio outputs to AES digital at 48kHz, enabling users to mount older and newer receivers together in various docks, all with digital audio connections. Aiming to provide more options for users with a variety of hardware platforms, the SRDB25AES mounts onto any Lectrosonics Digital Hybrid Wireless SR Series two-channel slot receiver. The company says it is especially useful when pairing an older unit like an SRC in a slot dock with a new receiver like a DSR4, allowing all channels from both receivers to enter through the slot in a common digital format. The adaptor is also suitable for SRB and older SR receivers while no data connection is present, so receiver settings need to be made via the receiver front panels. However, the SRC does have a data connection, and all previous functions are retained in terms of receiver control through the slot interface. SRB receivers with the FM01 update also have this data connection. While the height is identical, this adapter adds
around ½-inch to the receiver case length, which means that any slot-mounting hardware used for the DSR4 can be used with an SR receiver and the SRDB25AES bottom plate.
The manufacturer has also released its BAGFRAME organisers, designed to mount
portable receivers via specialised accessory kits, and keep these receivers organised in a bag.
The BAGFRAME units are available in several different widths and heights to accommodate a variety of receivers. Two different BAGFRAME widths are available – one for two receivers and
the dearVR PRO spatialiser plugin. dearVR SPATIAL CONNECT facilitates positioning and automation of audio tracks via gesture control
in a virtual 360° environment. In combination with Dear Reality’s dearVR MONITOR headphone monitoring plugin for multichannel speaker setups, Cubase users can now benefit from a professional toolset that “brings spatial productions to the next level”.
one for three receivers – while three different heights are available: S (short), M (medium) and T (tall). The units are shipped ready to be assembled and are constructed of aluminium alloy, making them sturdy and tough and yet also lightweight. The BAGFRAME units use snap-in inserts for all receiver mounting. Some receivers also require screws and mid-frame mounts. Audio and data connections are all handled per receiver, via whatever audio outputs or backplates are used on those receivers. The TM400 test and measurement system eliminates the need for long cable runs between hardware or software test platforms (such as SIM, SMAART or TEF) and a calibrated measurement microphone. An HMa or DPR-A plug-on transmitter snaps directly into the XLR barrel of the mic with no need for cabling, and the R400a or DSQD receiver provides digital signal handling for audio free of companding artefacts. The TM400 has a wide dynamic range and flat frequency response, delivering the accuracy and low latency of a cable “with none of the hassle”.
www.lectrosonics.com
By linking a VR headset like the Meta Quest or HTC Vive with their DAW, users can position and automate audio tracks in the virtual space by pointing at them with two handheld controllers. dearVR SPATIAL CONNECT enables direct VR access to the position, channel volume, solo and mute, and the automation status. This gesture-controlled process speeds up the mixing workflow and is said to lead to more lively and authentic automations.
In addition, dearVR SPATIAL CONNECT provides overlay modules for extended navigation and control in the VR headset. The main control module enables direct control of Cubase 12’s transport functions like start, stop and rewind. Furthermore, users can directly jump through the timeline and set markers and loop points. In the meter bridge module, users control each audio channel’s volume, solo and mute status. When the mixing session grows in complexity, the “minimap” module provides a comprehensive overview of all audio sources in the scene. It is an interactive, miniature view of the whole session and reflects the surrounding VR space, the audio sources and their automation in real time.
www.dear-reality.com
CRESTRON ELECTRONICS has announced additional features that the manufacturer hopes will improve the framing for the Automate VX voice-activated speakertracking solution. One of the challenges for organisations is delivering an equitable experience for the in-office participants engaging with remote users. Recently certified as a Microsoft Teams Room Device for large and extra-large rooms, Automate VX places multiple optical zoom cameras
cameras to track body movements and reframe participants based on their position within the frame. If a chair slides to the left or a participant moves in their seat, Automate VX can pick up on those motions and reframe the participant so they are always centred in the shot.
These Automate VX enhancements have been added to create a better experience for the participants and improve room maintenance for the administrators. For integrators, the updates are said to simplify the installation process by
speakers.
Rooms equipped with Automate VX have historically leveraged tracking to presets and audio pickup to determine which camera picks up which speaker based on their location within the room. This latest update adds facial and torso detection intelligence, allowing the
allows for a more adaptable system.
In brief, the manufacturer has also achieved ISO 9001 certification, which is the foundational international standard for quality management systems (QMS).
www.crestron.com
DEDICATED TO language interpretation applications, the Model 201 Interpreter’s Console from Studio Technologies is a Dante-enabled unit that is suitable for use in single- or multi-language situations both locally or in offsite/ remote applications. Able to create two independent interpretation audio channels, content can also be automatically muted or dimmed when interpretation is active. It features a two-channel headphone monitor output that is routed to both 5p. female XLR and 3.5mm TRRS headset interface connectors. The headphone output can be configured, including audio source selection, channel routing and sidetone signal operation. Two pushbutton switches and three rotary controls on the unit’s front panel allow users to select their desired headphone audio sources and signal levels. Meanwhile, a pushbutton switch and two associated LED indicators allow direct selection of the desired monitor
ENGINEERED FOR high-performance live and broadcast audio applications, Lawo has upgraded the mc²36 audio production console. The mc²36 MkII integrates A__UHD Core functionality offering 256 processing channels, available at both 48kHz and 96kHz, and natively supports ST 2110, AES67, RAVENNA and Ember+. With an I/O capacity of 864 channels available, local connections include three redundant IP network interfaces, 16 mic/line inputs, 16 line outputs, eight AES3 inputs and outputs, eight GPIO connections and an SFP MADI port.
User-centric features include Button-Glow and touch-sensitive rotary controls, colour TFT fader-strip displays, LiveView video thumbnails and precise 21.5-inch Full HD touchscreen controls. Featuring peak and loudness metering for measuring individual channels as well as summing busses, the built-in full loudness control is compliant with the ITU 1770 (EBU/R128 or ATSC/A85) standard.
www.lawo.com
DIGIKVM FROM ATEN International is a range of all-digital KVM-over-IP Omnibus Gateways and KVM DigiProcessors designed to advance IT/OT convergence. Claiming virtual media data transfer
available wherever users are located. Visuals from a specific server can be displayed at 1920x1200 @ 60Hz, while video feeds from all servers are organised in a multi-view grid layout to ensure real-time monitoring for
source – either the floor (the person whose text needs to be interpreted) or relay (an intermediate audio signal that is usually selected as an interpretation technique to support multiple languages).
Separate active and mic mute buttons allow connected microphones to be routed to desired interpretation channels as well as being momentarily muted, while an independent talkback function allows a separate audio path to be established from the interpreter to production personnel. A slowdown function also allows the interpreter to signal to the presenter that speaking more slowly is warranted. The Model 201 can be used by itself as a single-language interpretation position, as well as part of a multi-language application, while Dante connectivity enables the Model 201 units to integrate with other products.
www.studio-tech.com
rates up to 10 times faster than typical KVM-over-IP switches, ATEN’s KG0016 and KG0032 are universal KVM-over-IP Omnibus Gateways. Engineered to facilitate digital transformations in server rooms, data centres, control rooms, broadcasting applications and on production lines, they offer centralised control through a single, secure access point, enabling immediate BIOS-level access to all connected servers. OmniBus Gateways offers robust security through an all-digital KVM-over-IP infrastructure and feature Java-free remote access via HTML5 WebClient or advanced WinClient options. TLS 1.3 and FIPS 140-2 certified OpenSSL cryptographics enhance security, while compatibility with DP, DVI, HDMI and VGA ensures versatile server connectivity.
The OmniBus Gateway allows up to 32 remote users to access servers in real time. Server connections can be extended up to 100m and remote access to all servers is
situational awareness. During emergencies, the KVM-over-IP OmniBus Gateway also allows IT operators access via out-of-band management.
ATEN has also released its CM1942 twoport 4K DisplayPort, dual display mini-matrix KVM switch. Designed to offer instant access to two DisplayPort computers and two USB 3.1 Gen 1 peripherals from a single USB/HDMI console, it supports two operation modes: single PC mode and dual PC mode, offering full content display flexibility. It features boundless switching for easy cursor movement between screens and an audio mixer mode for mixed audio output from both computers. The company says it is ideal for desktop tasks and collaborative work in finance, design, engineering or home office scenarios and supports flexible port switching options, including pushbuttons, hotkeys, mouse and the remote port selector.
www.aten.com
DESCRIBED AS a significant upgrade on the company’s current RF system, the RF 865/915 series is said to offer improved sound quality, extended transmission range, inbound Bluetooth streaming, a hand-held RF transmitter and a software suite that can be used for fast group programming via smart chargers.
The ID-7 is a low-profile loop driver that offers a number of integrated variations with features such as battery backup, AGC and Class-D electronics. This range is designed to deliver clarity of sound to hearing aid users in lifts and other small spaces, and integration into applications such as ATM machines, LED screens and kiosks, automated check outs and help points.
Meanwhile, the manufacturer has also upgraded its V Plus hearing loop drivers. The V7+ and V15+ are constant current single output drivers, while the V15a+ is a dual output option with integral phase shifter for phased array configuration. Building on features from the current V Series range, the upgraded units add enhanced loop diagnostics and switchable AGC (on/off) which, together with the Class-D output stages, reportedly allow the V+ drivers to achieve “first-class” sound reproduction. Additional features include adjustable acoustic time delay, high pass filter and continuous self-testing.
www.contacta.co.uk
FULCRUM ACOUSTIC has introduced Fulcrum One, a system design and simulation software available for Windows and Mac. The system streamlines the design, deployment and management of both traditional sound reinforcement and immersive audio systems within a single, user-friendly interface. The all-in-one nature of Fulcrum One “saves time, reduces the need for multiple software applications and caters to the needs of diverse audio projects”. Incorporating the Fulcrum Acoustic loudspeaker catalogue, Fulcrum One enables users to accurately plan and position loudspeakers within a 3D venue model. The software will also facilitate the creative design of active acoustics and object-based mixing components for immersive audio installations powered by the Fulcrum Immersive Venueflex processor.
A key feature of Fulcrum One is its acoustic simulation capability, which allows users to accurately predict how their sound system designs will perform in real-life settings. Its rapid processing power enables near realtime calculations for loudspeaker coverage mapping and maximum SPL visualisation. Fulcrum One also offers advanced optimisation for line array configurations, signal processing and system equalisation.
www.fulcrum-acoustic.com
series has been designed for applications that require advanced signal routing and processing capabilities. Powered by K-array’s operating system OsKar, Prisma can handle up to 16 inputs and 16 outputs (analogue and Dante) and has been designed to provide a complete K-array solution for bars, restaurants, clubs, casinos, corporate and channel analogue mixer comes with four mic/ line inputs, one auxiliary line input, two balanced/ unbalanced outputs and an adjustable output limiter. Sound can be customised using individual input assignment and +48V Phantom power.
The GMX4L is said to integrate seamlessly with KGEAR’s amplifiers and the GM44L matrix.
Lastly, KSCAPE Rail S is a more compact 1.2m version of the product and comprises Lyzard KZ1 loudspeakers along with CASAMBI-controlled lighting. It’s said to not only cater for niche markets such as retail and hospitality, but is also equally valuable in healthcare or workplace environments. While it offers a different audio experience to traditional Rail products, it is also reportedly more versatile and scalable in comparison.
www.k-array.com
THE LATEST addition to Pliant Technologies’ MicroCom family of products is the MicroCom 863XR wireless beltpack. It operates in the 863–865MHz ISM band, which allows for unlicensed use in most European countries, features two intercom channels and the capability to support up to six full-duplex users with unlimited listeners without the need for a base station. The MicroCom 863XR features an easy-to-read OLED display, an optional drop-in charger, a four-wire I/O interface and is IP67-rated. Built to endure
the extremes encountered in outdoor environments, it also has a field-replaceable, 12-hour battery for use in theatre, concert and corporate events.
Pliant has also introduced its CrewCom IP-rated Radio Transceivers (RTs). The latest addition to the flagship CrewCom wireless intercom line, the weather-resistant, IPrated RTs are available in four models, and in both 2.4GHz and 900MHz versions.
www.plianttechnologies.com
OBSIDIAN HAS added to its range of NETRON products in smart form factors optimised for systems integrators and fixed installations. Firstly, two compact devices with interchangeable connection plates are said to offer performance and flexibility. Available as RDM6D (six-port RDM splitter) and EN6D (six-port EtherDMX node), the units come with a rugged chassis and can be DIN-Rail or wall mounted, and provide data ports that can be
repositioned to the top, bottom or front of the devices.
Also joining the NETRON family are the EN12i, a hardwired rackmount node; the EP1, a singlegang size EtherDMX node; the NS8, NETRON’s half-rack-sized managed switch solution; and the RP2, a two-way DMX power relay that serves as a protective device for lighting fixtures.
www.obsidiancontrol.com
17 - 19 April 2024
China National Convention Center (CNCC)
Beijing, China
www.infocomm-china.com
17 - 19 July 2024
Queen Sirikit National Convention Centre (QSNCC)
Bangkok, Thailand
www.infocomm-asia.com
For sales enquiry: aliciachen@infocommasia.com
For visitor and media enquiry: angieeng@infocommasia.com
3 - 5 September 2024
Jio World Convention Centre (JWCC)
Mumbai, India
www.infocomm-india.com
UK AUDIO manufacturer AMS Neve has unveiled three products, including what it claims is a world-first. The company says that the Genesys G3D is the first objectbased hardware and software platform that allows for 3D analogue mixing directly from the console surface. Working closely with Dolby, the Genesys G3D is capable of remotely controlling Dolby Atmos technology by enabling object-based mixing of up to 118 objects. The G3D system adds 3D positioning parameters to the Genesys ControlPlugin, allowing for object automation from within the DAW, and provides the ability to remotely configure and control speaker outputs from the console surface in 7.1.4, 9.1.4 or 9.1.6. Meanwhile, binaural headphone routing integrates the console’s powerful headphone amp into the Dolby Atmos system.
EVENTIDE HAS launched its Split Essentials plugin series with the DeBoom and Sheen Machine. Both are taskspecific, sonic sculpting plugins based on applications of Eventide’s SplitEQ technology. DeBoom enhances lowfrequency clarity and Sheen Machine accentuates high frequencies without the consequences of traditional techniques
by analysing incoming audio and separating it into transient (noise, pops, mic plosives, vocal sibilance, attacks) and tonal (sustained notes, harmonics, tone, ambiance) elements. Specially crafted EQ curves are applied to the tonal layer of the source audio.
Eventide’s Structural Split technology is task-focused in the Split Essentials plugins, merging SplitEQ into a single, one-knob gesture. It enables engineers to enhance low-frequency content with DeBoom without losing the energy of the incoming signal, or add vibrance and airiness with Sheen Machine without the harshness introduced by traditional EQ techniques. The Split Essentials user interface also includes undo/redo, input gain control and a built-in bypass.
www.eventideaudio.com
The company has also introduced the StarNet DM256, a high channel count MADI-to-Dante/Dante-to-MADI digital audio format converter housed in a 1U 19-inch rack chassis. The StarNet DM256 converts up to 256 channels of Dante Rx to 256 channels of MADI Tx and vice versa. With the integration of Dante IP core technology, it enables an expansive I/O count through a single Ethernet connection. The DM256 accommodates 256 channels of MADI inputs and outputs across four MADI ports, which feature duplex MADI SC
feature, the DM256 also ensures seamless multiplexing of MADI I/O assignments per port, maintaining session integrity during sample rate switches. The unit’s frontmounted OLED screen provides at-a-glance access to crucial network settings.
Finally, the StarNet ADA16 is AMS Neve’s first analogue line level to Dante AD/DA convertor, a 16x16 converter that delivers versatility to recording studios, live sound venues and broadcast/postproduction suites. The company says the ADA16 offers mastering-grade A/D converters which produce 119dBFS of dynamic range and D/A converters producing
AVID HAS announced an update for its Pro Tools software that introduces new capabilities for both music and audio post workflows, including an integrated Dolby Atmos renderer to streamline immersive mixing. The release also offers enhancements to Pro Tools Sketch, adds new Markers functionality, I/O Setup and Routing colour coding and Same as Source bounce support for H.264 video, as well as support for Native Instruments S-Series controllers.
The Dolby Atmos renderer is included free in Pro Tools Studio and Ultimate, and aims to improve the efficiency of immersive mixing workflows with a simplified setup, mixing and monitoring. Users are now able to render
and monitor Dolby Atmos mixes within Pro Tools without having to roundtrip to an external renderer. A new window provides comprehensive visualisation of Dolby Atmos mixes from various perspectives and enables switching between multi-speaker and binaural headphone monitoring. Additionally, a new I/O Setup tab is said to simplify the configuration of beds, objects, groups, trim and downmix settings and saves them as part of the session for easy recall.
The 2023.12 software release introduces interoperability between Sketches and Pro Tools sessions and adds new MIDI workflow improvements. Users can now drag and drop instrument clips as audio or MIDI into the Pro Tools timeline from Sketch. When dragging audio clips from Pro Tools into the Sketch window, customers have the option to render the full signal chain to maintain their processed sound. Also, improvements to the desktop Media Browser aim to make it easier to access loops and samples, including monthly Pro Tools Sonic Drop sound content. Initially introduced with the Pro Tools 2023.6 release, Track Markers enable users to add detailed, colour-coded comments within a track to improve both music and audio post workflows. In response to customer feedback, the latest 2023.12 release builds on this functionality with more marker rulers for better visibility. Markers have also been made easier to find in the Memory Location window through improved sorting and filtering options.
The update also introduces I/O Setup and Routing colour coding that enables users to identify where any track is bussed or routed quickly. It also offers Same as Source bounce of H.264 video files, allowing the picture to pass through untouched without needing to re-encode the frames or change the original video’s timestamp. Finally, Pro Tools has been updated to support the new Native Instruments Kontrol S-Series MK3 controllers. Version 2023.12 is now available to all Pro Tools customers on an active subscription or perpetual licence with a current Upgrade Plan, as well as all Pro Tools Intro users. www.avid.com
BRINGING THE sound of its 4000E console to a DAW, Solid State Logic has launched a plugin of the 4K E Channel Strip. It is available in multiple formats including VST2, VST3, AAX Native and AU as part of the SSL Complete subscription. Modelled on the original analogue console down to component level, the plugin includes Brown, Black and Orange EQ flavours, as well as revision four dynamics, including the classic soft-knee and logarithmic release circuit. SSL says that the emulation also includes the Jensen T-115K-E transformer found on early 4000E mic pres, while the dbx 202 “gold can” fader VCA is also modelled to provide multiple layers of harmonic saturation found throughout the circuit design. As with the Channel Strip 2 and 4K B, the 4K E plugin integrates with SSL’s UC1 controller, offering knob-per-function control of the plugin in a channel strip-style layout. In addition,
SSL 360’s free Plug-in Mixer provides users with a single place to view and control all 360-enabled plugins.
Expanding its premium FX offerings, PlateVerb is the first in a range of boutique plugins from SSL that deliver the sound of classic and contemporary reverbs. Using an FX pedal-style interface, PlateVerb emulates a classic plate reverb in a user’s DAW. It combines two bespoke algorithms for early and late reflections to capture the sonic, mechanical and damping properties of
US LOUDSPEAKER manufacturer
1 SOUND has announced the introduction of its Auralis 3D audio design and prediction software. Auralis is a multipurpose sound design tool that enables precise, highresolution, full-colour audio predictions for any loudspeaker design in a threedimensional space. It can import 27 different types of files, including SketchUp (SKP) and AutoCAD (DXF) files, as well as creating its own three-dimensional spaces using fingertip free-rotation and named groups. line array using 1 SOUND’s Tower Series, for
UK SPATIAL audio company TiMax is plugging the gaps with the introduction of two features for the TiMax SoundHub and TrackerD4 stagetracking products. TiMax’s multichannel, live production reverb feature for SoundHub is available
with their localisation onstage or in the auditorium.
Meanwhile, TrackerD4 stagetracking also gets a boost with TiMaxSP, a plugin option for integrated lighting and media control. Developed in collaboration with Stage
a plate reverb, with adjustable reverb decay times ranging from 100ms to 3s. The plugin also features colour adjustment, ducking with external side-chain, and freeze and kill options, enabling engineers to dial in a precise sound and producers to experiment with creative reverb FX. Additional features include diffusion adjustment to fine-tune the density of late tail reflections; decay and room size customisation; damping controls to limit decay in low/high frequencies; and advanced mix control to blend any combination of wet and dry signals. PlateVerb is available as part of the SSL Complete subscription, SSL’s Rent To Own plan and for perpetual purchase via the SSL eStore. It is available in all standard formats including VST2, VST3, AAX Native and AU.
www.solidstatelogic.com
place to plan for system optimisation. From there, users can see 3D acoustical mapping, SPL predictions and measure phase coherency and off-axis response. The application works with all 1 SOUND loudspeakers and rigging hardware with measurement microphones, and is able to generate customisable reports with design photos, notes and other relevant information for reporting.
www.1-sound.com
ATLASIED HAS made a software update available for the Atmosphere audio processing and control platform. Combining digital audio processors, amplifiers, GUIs, programming software and controls, Atmosphere provides modular and scalable audio to support digital audio systems. Allowing Atmosphere customers to virtually pair to the system, Atmosphere 3.5 adds remote Bluetooth pairing. The update also provides a deep sleep mode for the Atmosphere AZMP models with an integrated amplifier. In addition, multi-language support is also available for the Atmosphere X-ZPS multi-zone paging station accessory and virtual wall controller, including Arabic, Chinese, French, German, Hebrew, Italian, Japanese, Russian and Spanish. The primary GUI,
to all existing HARDCore FPGA-equipped TiMax SoundHub units. It adds four individual one-in/16-out reverb engines to give sound designers full control of all parameters as well as access to an advanced 3D room reverb-builder application. Aux sends to each reverb engine can also be driven by TiMax TrackerD4 stagetracking so that performers’ mic sources or effects can be cross-faded between different reverbs, and configured to be spatially consistent
Precision, TiMaxSP enables TrackerD4 to intelligently direct and focus groups of moving-head light fixtures using Art-Net and sACN-networked DMX. TiMaxSP operates seamlessly for synchronised groups of fixtures across multiple tracked objects and unlocks further Stage Precision integration with videomapping and camera control, as well as Unreal and Notch control.
www.timaxspatial.com
Having made a significant equity stake in Aimline, the US brand has released the Aimline Series of ALXD and ALXP digitally controlled and passive column array loudspeakers. Featuring beam steering and Dante audio as standard, the ALXD 4, 8, 24, 32, 40 and 48 models incorporate the indicated number of DSP channels and transducers. The ALXP 4, 8, 12 and 16 passive column arrays with their controlled dispersion characteristics are designed for acoustically challenging environments. Larger arrays of various lengths can be created by vertically cascading the same models of the ALXD and ALXP Series.
www.atlasied.com
The ATND1061 Beamforming Ceiling Arrary Microphone is a state-of-the-art, professional conferencing solution for meetings of any size - from boardrooms to classrooms. Up to 6 output channels and 32 user-defined pickup zones capture every person speaking in a room with clear natural audio that reduces distracting environmental sounds.
sea.audio-technica.com
AVAILABLE IN 50-, 55- and 65-inch variants, the Philips Signage 3650 QE-Line from PPDS claims to deliver best-in-class 4K Ultra HD performance via its 350cd/m² LED display, while boasting a 50% reduction in energy
to Philips B-Line 4K Business TVs. Developed in-house and in consultation with partners and customers, the app provides users with the tools and freedom for businesses to remotely take total control of all their visual
PPDS’s Eco Design methodology, the 3000 EcoDesign Series complements the features and benefits enjoyed on the company’s 3000 Q-Line Series, but with significant energy efficiencies and reduced wastage.
Equipped with a quad-core chipset, the Philips Signage 3650 EcoDesign joins PPDS’s growing Android SoC family of displays. It can be managed both manually or remotely using third-party software and is also compatible with the manufacturer’s range of in-house products like PPDS Wave, a secure cloud ecosystem that provides remote device management and content control for Philips Professional Display fleets in any location. It can proactively monitor and address issues before they occur, while optimising performance and managing power schedules, screen brightness and the energy consumption of each display.
The Philips Signage 3650 EcoDesign also comes equipped with PPDS’s “FailOver” technology which automatically switches to the secondary input if the primary source becomes unavailable. It uses SmartPlayer to enable content to be saved onto a USB or microSD card plugged directly into the display, while the integrated media player allows for playlists to be created and scheduled via its onscreen menu. The PPDS Publisher app has been designed to bring creative content control and scheduling
Whether in an office or meeting room, a busy bar, café, gymnasium, local sports club or medical waiting room, the PPDS Publisher app comes embedded into all new Philips B-Line Business TVs, or can be quickly added to existing ones via a simple software update, for free. Requiring zero training, users can download PPDS Publisher – available free of charge via the App Store and Google Play – onto their preferred smart device (including smartphones and tablets). The app can then be securely linked to their network of TVs.
The platform comes with a growing choice of templates, which can be selected and tailored to suit. Content can be displayed on the entire screen, or presented alongside other forms, such as the screening of live sporting events. PPDS Publisher also offers the ability to schedule content at specific times, such as happy hour deals in bars, daily specials in restaurants, promotions in retail stores or even staff celebrations in the office. Content can be fully managed as part of a playlist, with all content set to be presented for specific durations. It can be looped throughout the day, or as part of a slide show. Ad hoc content can easily be created and immediately displayed in real time, all managed securely via a single device.
www.ppds.com
Brompton Technology gets screen time with Prolights
ITALIAN LIGHTING and video technology manufacturer Prolights has chosen Brompton LED processing for its KappaPix LED screen series. Boasting a 2.6mm pixel pitch, the KappaPix series is designed to meet the demands and
control requirements of motion picture and XR studios, and serves as Prolights’ flagship LED screen. The 26B model comes equipped with Brompton R2 receiver cards to achieve a 7,680Hz refresh rate and 251Hz frame rate.
AUSTRIAN AV technology manufacturer
AV Stumpfl has rebranded its FLEX BLACK PRO projection screen surface as BLACKPEAK. Using conventional projection screen surfaces, projected images may sometimes appear “washed out”, due to ambient light, and important image details might even disappear. The redesigned BLACKPEAK projection screen material allows for the projection of “highly impressive” images even in bright environments. Its image reproduction quality is said to be comparable to LED displays and other light emitting display technologies. Unlike white projection screen surfaces, the projection screen surface is also very inconspicuous during the moments when no content is being projected, making it suitable for fixed installations.
The company has also released GEN 2 hardware for PIXERA one and PIXERA two servers, including the PIXERA two RS.
This pre-configured version of PIXERA two hardware system has been specifically designed for cross-rental scenarios.
www.avstumpfl.com
Teachers get on board with Google
INTEGRATING WITH the Google Mobile Services Ecosystem, BenQ’s Board Pro RP04 and Board Master RM04 boast total functionality with the entire Google Mobile Services (GMS) ecosystem. As Google Enterprise Devices Licensing Agreement (EDLA) certified smart boards, the company says
interface. Educators can write and illustrate with its EZWrite 6 digital whiteboarding software, while fostering a collaborative environment with InstaShare 2, which shares up to nine screens
that the RP04 and RM04 are the only smart boards for education with a complete range of health-centric ClassroomCare features to foster healthy learning environments. This generation of BenQ boards provides schools with access to official Google services including Google Play and Google Classroom, and offers classrooms a seamless experience when using Google Search and other Android applications directly on the board’s touchscreen
peripherals. Meanwhile, an account management system allows teachers to start a class instantly with lessons stored in the cloud. School IT admins can remotely update firmware, apps and power settings for groups of BenQ devices.
www.benq.com
Prolights reports that it is especially impressed with Tessera’s PureTone, HFR (High Frame Rate) and Frame Remapping for projecting trackers on a dedicated camera. All screens have also been calibrated using Brompton’s Hydra advanced measurement system to leverage the Dynamic Calibration technology and ensure the LED panels are Brompton HDR-ready.
www.bromptontech.com
AUDIO TECHNOLOGY specialist Mackie has been keeping busy with the addition of several products to its catalogue.
First is the DLZ Creator XS, a slimmed-down version of the DLZ Creator content creation studio. Designed for podcasters and streamers who need fewer inputs and outputs, Mackie says it delivers the same broadcastquality results as its bigger sibling using built-in assistive technologies such as the Mix Agent audio engineering assistant and AutoMix, while easy, enhanced and pro work modes give users predefined levels of access based on experience.
The DLZ Creator XS features two Onyx80 mic preamps with up to 80dB of gain and two headphone outputs, with a 7-inch touchscreen and knobs instead of faders to reduce desk space.
MobileMix is a USB-powerable analogue mixer for AV production, live sound and streaming. It can also be powered via a USB battery that fits in a dedicated slot. It can handle up to eight channels, including microphones, instruments and Bluetooth audio, and features preamp channels with combo XLR and ¼-inch connectors, Hi-Z impedance switches, lowcut filters and 48V
Stereo sources can be connected with ¼-inch line and 3.5mm aux inputs, while bidirectional Bluetooth audio can bring in phone calls with total mix minus functionality.
ProFXv3 mixer series has been expanded with three “plus” models that add switchable USB recording modes, bidirectional Bluetooth audio and a GigFX+ effects engine with
12 upgraded, customisable effects. The ProFX6v3+, ProFX10v3+ and ProFX12v3+ all feature full-colour LCD screens and allow users to capture their stream or performance at 24-bit/192kHz quality with the built-in 2x4 USB-C audio interface. Three recording modes capture a full mix, a clean mix with no effects or EQ, or the ability to mix computer audio into the recording. All + models feature a wide range of inputs, including Mackie’s Onyx mic preamps delivering up to 60dB of gain, along with 48V phantom power, 100Hz low-cut filters and Hi-Z switches.
Finally, the Mackie ShowBox is a batterypowered, all-in-one live performance rig for musicians that combines a portable PA, acoustic guitar amp, six-channel mixer, effects rack and USB-C interface into a single device. Its 400W amp delivers up to 12 hours of live sound via custom drivers
and the included battery. It also boasts a breakaway mix controller, connected via an included Ethernet cable to provide total control over levels for mics and instruments, as well as ShowBox’s built-in effects, tone shaping, user snapshots, looper, tuner and recording controls. ShowBox has switchable “amp” and “PA” voicing modes, settings for indoor and outdoor performance and features two layers of effects for vocals and instruments.
www.mackie.com
Coherently aligned with precision crafted optimized flux motors, patented Next Generation compression driver technology and smooth transmission interfaces between LF - HF - Horn. 12” or 13.5” models available with 60°x40° coverage horn (CAN123.00TH / CAN143.00TH) or 80° coverage using LF cone (CAN123.00T / CAN143.00T).
IN THE face of the increasing number of control room challenges, Datapath has enhanced both its hardware and software portfolio for its Aetria solution, an integrated platform for control rooms of any size. The Aetria Touch is the company’s dedicated touchpanel for Aetria installations. The 10.1-inch tablet comes with two distinct user modes of operation. Pre-packaged with Basic mode, users will be able to open preset layouts on videowalls, while customers upgrading their environment to Advanced mode will encompass a full touch-based user interface, allowing greater control with features such as source drag and drop, layout and template design, scaling of content windows and videowall zoom capability.
The VSNMini 300 is a dedicated personal videowall controller and has been designed to be inconspicuous and space conscious for the modern operator workstation environment. For use either as a personal videowall controller/ workstation within an Aetria environment or as a standalone videowall controller for small installations, the VSNMini 300 combines “modern aesthetics with industrial-grade components”. It supports the latest standards including 12th Generation Intel Processors (i9, i7, i5) and NVMe (M.2) SSD storage. Graphics and capture capabilities are provided via three PCIe slots that can be configured as required with Datapath’s Image graphics, Vision capture and ActiveSQX IP decode/encode cards.
www.datapath.co.uk
One controller to rule them all
THE VS-PTC-300 PTZ camera controller from Marshall Electronics provides the ability to mix and match cameras with different control protocols using just one controller, including NDI, RS-232/RS-422/RS-485 and IP, VISCAover-IP and ONVIF. Providing user control across multiple cameras on a single network, the VS-PTC-300 can control up to seven RS-232 cameras, 14 RS-422 cameras and up to 255 NDI/IP cameras. It also allows easy NDI/IP
setup utilising NDI/IP discovery setup functionality. With 10 instant access camera control buttons, the VS-PTC-300 has a straightforward interface, and the information displ
DESIGNED TO support flexible auto-tracking of subjects over long distances, the triple lens VC-TR70 PTZ camera from Lumens autotracks at any distance between 2m and 30m. The company says it overcomes a limitation of most tracking systems which lose accuracy and reliability with distances beyond 8m. It features a 25x optical zoom, a pan/tilt mechanism and numerous mounting options to provide flexibility on camera installation.
Built around a 1/2.5-inch UltraHD main camera sensor, the VC-TR70 has simultaneous SDI, HDMI, IP and USB outputs which means video can be incorporated into virtually any UC and AV installations. As the camera supports Rec. 709 and BT2020 colour spaces, producers can easily match multiple units for use in live events and broadcast productions. Two additional face-tracking HD cameras are installed in the VC-TR70’s base to enable the AI processor to scan and analyse the scene, identify individuals and follow a chosen subject. Switching between tracking targets is simple using either the supplied remote control or by tapping on the web interface. The PTZ is suited for use in larger venues where the camera is installed at a distance from the podium or presentation area.
Meanwhile, Lumens’ latest generation of AI-based cameras and voice-tracking technologies have been validated by Barco for use with ClickShare Conference. Newly
validated devices include the VC-TR30 HD and VC-TR60 4K auto-tracking PTZ cameras, plus the CamConnect Pro and MS-10S voicetracking meeting room solutions. Sennheiser has also announced that its TeamConnect Ceiling Medium (TCC M) microphone has been integrated into Lumens’ CamConnect Pro voice-tracking camera system.
www.mylumens.com
VC-TR70
Vizrt unveils most powerful control panel to date
REAL-TIME GRAPHICS and live production solutions developer Vizrt has added a second TriCaster Flex control panel in the form of the Flex Dual. At the core of the dual stripe control panel, an unparalleled number of user-definable
the first TriCaster Flex, the TriCaster Flex Dual is also an NDI native panel, for connecting to the network and allowing switchers to be remotely controlled. With TriCaster Flex Dual, operators can create simple setups or elaborate multi-
screen doubles as a video monitor for NDI and RTSP streams. Featuring a PTZ joystick, professional zoom rocker and individual fine-tune adjustment knobs,
focus, pan/tilt speed and zoom speed. The VSPTC-300 can store up to six assignable function keys and save up to 256 camera presets, while dedicated knobs and control buttons provide direct access to functions without needing to use on-camera menus. The built-in display also allows the crew to easily check framing/focus, store presets and practise camera moves.
BUILDING ON the design ethos of its DB2 motorised monitor, Spanish technology design company Arthur Holm has introduced the DB3 to provide better functionality to the user. Like its predecessor, the DB3 retractable monitor has minimal impact on a table’s design. The monitor emerges vertically from the table’s surface and has up to 25° of inclination on top of the desk. The cover plate has been designed for veneering to provide a streamlined finish.
The DB3 also provides the ability to adjust screen position to respond to ergonomic needs and visibility towards other people in the room. It uses sustainable aluminium and glass materials, while the 21.5-inch LCD industrial display panel comes with a long life. It provides two DVI HDCP-compliant inputs and movements can be locally controlled by capacitive touch buttons integrated on the screen’s front glass over RS-422, or via the company’s AHlink app.
www.arthurholm.com
Aetria TouchTAKING THE guesswork out of prepping LED screens, ROE Visual has upgraded its ROE Calculator APP with a suite of tools that includes ballast calculation, pixel and resolution calculation, and power requirement analysis.
Aiming to offer an all-inone solution for tackling complex calculations, the ROE Calculator APP calculates essential data for LED technicians and professionals whether onsite or in the preparation stages of a production.
Ballast calculation is simplified and requires just the wall size and stacking system information to calculate the precise amount of
DESIGNED AS an upgrade option for Trinity Gen.1 – the first generation of the bodymounted camera stabiliser system –
ballast required to ensure optimal reliability for any LED screen setup. Meanwhile, the app also works out the required processing power and cabling setup for the resolution of a screen. It also provides accurate power consumption estimates to save both time and resources, and is constantly updated with the latest data and technology standards to ensure the most up-to-date information. The app is available for download from the App Store and Google Play, and is also accessible as a webapp.
www.roevisual.com
AJA VIDEO Systems has unveiled the DRM2, a rackmount frame that can house and power up to 12 AJA MiniConverters of any kind, or up to 24 AJA FiDO Mini-Converters with a new optional
are easily installed or taken out without removing the frame from the rack. Twelve carriers are integrated and replacement carriers can be purchased individually or in a 12 pack. The frame’s power cable
balancing the rig, reportedly reducing its weight by up to 4kg. The new position is also said to result in a more stable wireless signal because
professionals to rackmount multiple AJA Mini-Converters for signal conversion needs.
The frame includes customer-requested features such as a removeable faceplate that allows quick access. Mini-Converters
DRM2-AP model includes an optional active faceplate featuring four fans for maximum cooling in higher ambient temperature environments, facilitating high-density installation without heat soak concerns.
www.aja.com
long-distance distribution of ultra-highspeed uncompressed HDMI 2.0 audio
controls and power, with zero latency, Wyrestorm has developed an HDBaseT
these products and provides a way to integrate stabilised ARRI cameras into live, multi-camera broadcast environments.
Trinity Live allows the wireless video link that is required for broadcast work to be mounted at the bottom of the system instead of being attached to the camera, as is normally the case.
Positioning a wireless video link such as the Vislink system at the bottom of the centre post allows it to be used as a counterweight when
with two video lines when dual SDI (2x 6G) is needed. The fifth video line serves as a playback line, allowing the operator to see the program image on a second monitor, transmitted wirelessly from the OB van. Meanwhile, the additional internal 10Gbit Ethernet line provides the OB van with full camera control and communication.
www.arri.com
4K60 4:4:4 uncompressed 18Gbps over
and CEC trigger together with two inputs and 4K@60Hz HDBaseT 3.0 transmission. Further functionality allows USB devices to be routed back to the source via a USB host or natively via USB-C, alongside three additional USB device ports that are locally available for a total of six devices. Rounding out its feature list, the SW-120-TX3 boasts 60W
transmitter comes with USB-C charging
www.wyrestorm.com
OFFERING FLEXIBILITY for conference and collaboration settings, the MaitreView 4KPlusX is an uncompressed 4K/60Hz HDMI multiwindow video processor which provides dragand-drop thumbnails from four of its six inputs (four HDMI and two HDBaseT) in any size and position to display on four outputs (two HDMI and two HDBaseT). Meanwhile, the MaitreView 4KQuad is an uncompressed 4K/60Hz HDMI presentation switcher with diversified viewing modes, including a multiviewer, videowall and matrix.
The TAA-compliant MaitreView family – which includes the MaitreView 4KPlusX, MaitreView IPS series is powered by SDVoE (uncompressed 4K/60Hz AVoIP) to distribute a venue-wide AV signal at 4K/60Hz 4:4:4 over a 10GB network. The company says this satisfies the demands of interactive training, sports events and gatherings of all sizes.
The HDM-3EXCU+ HDBaseT 3.0 uncompressed 4K/60Hz HDMI and USB 2.0 extender transmits uncompressed video in 4K/60Hz 4:4:4 over 100m, and smart EDID management allows for efficient configuration
of EDID settings. Similarly, the compact size of the HDM-3MXCU HDBaseT 3.0 uncompressed 4K/60Hz HDMI and USB 2.0 extender (40m) promotes flexible deployments in small spaces. The WUH-3MLCU HDBaseT 3.0 uncompressed 4K/60Hz HDMI and USB 2.0 wall plate extender (40m) can switch between USB type-C and HDMI video sources with the WUH-3MLCU (transmitter) and transport the video stream to the HDBaseT equipment (receiver). The HS-1614W distribution amplifier connects multiple monitors to the same 8K/60Hz HDMI source.
www.avlinksystem.com
MATROX VIDEO is expanding its Maevex range of video products with the introduction of its lower-cost Maevex 7100 Series of single-channel 4K60 AVC/HEVC encoders. For low-bandwidth applications requiring high levels of compression, Maevex 7100 Series encoders provide streaming and recording for both moving video and desktop content with a range of compression rates. Designed for low-latency, high-quality, low-bitrate encoding of single high-resolution HDMI sources for audio and video streaming, contribution and collaboration, Matrox says they provide flexibility with support for multiple streaming protocols suited to all network topologies.
Users can choose H.264 (Maevex 7112A) or H.264/H.265 (Maevex 7112H) models for streaming and simultaneous recording with support for five streaming protocols: RTSP, MPEG2-TS, RTP, SRT and RTMP. Both are are authenticated and validated before installation for additional protection. Users for secure, low-latency streaming on noisy or unpredictable networks.
The Maevex 7100 Series encoders are fanless, small form-factor appliances for high-density rack mounting or throw-down installation. They offer zero-latency input pass-through for real-time video output for applications such as videowalls. Matrox Video’s complimentary Maevex SDKs and APIs mean users can add the encoders to any mission-critical environment.
Operators can also integrate the Maevex 7100 Series with third-party AV systems including Video Management Systems (VMS) and others. TAA-
www.matrox.com
LIGHTING MANUFACTURER ETC has announced that F-Drive compatible versions of the Irideon FPZ, Irideon WLZ and Source Four Mini LED are now available to help make it easier for users to pair ETC luminaires with the company’s flagship LED driver solution. According to ETC, direct connection to the F-Drive system enables facilities to build more cost-effective lighting systems. The F-Drive LED power system is both modular and centralised for “easy installation and maintenance”. Swappable driver cards and power supplies in the F-Drive R12 rack are said to make all critical components
readily accessible. A wide variety of LED systems, including Irideon and Source Four Mini LED, can take advantage of the centralised drive and power structure of F-Drive to reduce costs and simplify the remote lighting positions.
Source Four Mini for F-Drive offers a compact LED solution that reportedly fits seamlessly into any lighting system, while Irideon FPZ for F-Drive and Irideon WLZ for F-Drive are said to bring a “sleek design” to any F-Drive system.
www.etcconnect.com
PROVIDING INSTANT point-and-click control for full lighting ecosystems, the White Remote from Astera is a pocket-sized tool that acts as a counterpart to the company’s existing IR FX Remote. The remote allows a lighting engineer to execute precise lighting changes in seconds, enabling colour, strobing and effects control at the click of a button.
The White Remote can turn single or grouped sets of lights on and off and can also be used to quickly add lights to a control group to allow for changes to be made across the
full group simultaneously. Preconfigured buttons for light temperature have 12 preset values from 2,400–10,000K which allows for instant temperature transition, while the remote also features boasts CCT ± buttons to enable more precise, incremental control. Similarly, five preset dimming parameters are available to provide quick brightness adjustments, along with ± dimming buttons for fine-tuning.
www.astera-led.com
WITH THE launch of an IP65-rated version, elektraLite is bringing its Paint Can spot/wash hybrid fixture to the great outdoors. Available in WW (Warm White), CW (Cool White), VW (Variable White), RGBW and RGBWA formats, the Paint Can IP65 features a marine-grade chassis equipped with covered TRUE1 TOP connectors to ensure performance in the most punishing environments. It incorporates a zoom lens that ranges from 18–58°, and elektraLite says its electronic zoom maintains beam shape throughout the entire transition.
the full range of zoom. With no LED pop or bump at the beginning or end of the dimmer curve, both Paint Can RGBW/A models provide a range of colours, while the white allows rendering at a balanced 3,200K colour temperature. The Paint Can has several profile choices for control, including an onboard interface for control by either DMX or consolefree static operation. Operational voltage ranges from 100–240V with a variable refresh rate for pulse-width modulation.
The Aero from elektraLite is a compact moving light fixture which features a 350W COB single-source LED delivering a balanced Cool White (6,500K) colour temperature and CRI of 95. The Aero boasts not only a CMY system, but also three dichroics per wheel that offer a colour palette reportedly unobtainable
by colour mixing alone, with access to deep blues, deep reds and greens, plus a CTO filter on a separate channel, for colour temperature changes.
It is equipped with nine interchangeable static gobos and seven interchangeable rotating gobos. The rotating gobos are also indexable on a separate channel to give maximum accuracy in positioning. The Aero includes a rotating five‐way prism, iris, frost filter and strobe. Zoom (4–35°) and focus both have normal and fine controls, while the dimmer also has a channel dedicated to different types of dimmer curves.
The fixture offers 540° of pan and 270° of tilt, with fine-tuning channels. Control is achieved via a choice of five-pin or three-pin XLRs for hardwired DMX, or built-in wireless DMX. Along with its Micro C socket for external power, the Aero’s Remote Device Management (RDM) allows users to set DMX channel assignments and set up menus without AC power.
www.myelektralite.com
THE HY B-EYE K15 Aqua is the latest member of the IP66 Shield family. Based on the manufacturer’s ALEDA B-EYE technology with rotation and pixel-mapping, the K15 Aqua is said to provide true IP66 protection and has been rigorously tested to endure vibration and shock during transportation, extreme temperature fluctuations, impacts from hailstones, electrical stress, harsh surroundings and UV exposure.
Meanwhile, the Rhapsodya is a high power, low-noise multi-spectral LED-based fixture designed for a variety of applications, including theatre, TV production, touring and live events. It uses a custom 1,200W multicolour RGBAL LED engine, is capable of a 24,000-lumen output and offers features such as the Accuframe framing system using two focal planes for better resolution and focusing; Tonedown, which ensures whisper-
quiet operation at just 27dB; Absolute Position for advanced pan and tilt control; the Lineguard frost system using two pairs of blades for much higher beam uniformity and incremental adjustment of frost levels; and ColorMatch calibration for matching colour temperatures to other fixtures when using Claypaky CloudIO software.
www.claypaky.it
DEVELOPING THE feature set across its entire range of LightShark DMX-based hardware lighting consoles, Spanish manufacturer Equipson has released its version 1.5.25 software upgrade. The introduction of a “Record Merge” feature makes it possible for programmers to quickly include their information in the selected Cue – or in all the Cues of a playback –without having to use the “edit + update” function. Conversely, “Record Remove” allows the removal of information from a Cue or from all the Cues of a playback without having to edit them individually. The upgrade also implements ArtNet v4 and increases the number of available ArtNet Universes from four to eight. Meanwhile, “Digital Patch”
makes it possible to assign any universe from the console to any network universe, even when they have different protocols. In addition, users can now activate or deactivate universes individually.
A Unicast feature defines the specific IP of the node or device to whichever universe information needs to be sent. Also, it is now possible to automatically detect LSW-1 remotes on the network and define which network interface the remote has been connected to. Finally, the inclusion of a web user manual within LightShark gives customers access to step-by-step video tutorials and screen recordings.
www.lightshark.es
CAMEO, ADAM Hall Group’s lighting technology brand, has added a range of
DESIGNED FOR permanent outdoor entertainment use, the Martin ERA 700 Performance IP moving head is an LEDbased profile fixture designed for permanent outdoor use, and completes Martin’s ERA family of fixtures. Boasting 26,000 lumens, the unit is engineered for larger outdoor shows, rental applications and architainment installations. Compact and lightweight, it measures 759mm high, weighs less than
the 4.4kg compact fixture can operate in tight spaces. Saving time when deploying more than one fixture, the optional four bar accessory assists in the transportation, rigging, unrigging and cabling the MAC One fixture in blocks of four. When creating a wall of light without a custom rigging structure, an optional grid mount adapter enables the fixtures to be self-supported in lines and matrices.
LEDs, which create stroboscopic and pixel effects.
The AZOR SP2 and AZOR W2 have been designed for flexible use in medium-sized applications. The AZOR SP2 is based on a 300W LED light source with 13,000 lumens of luminous flux and a large zoom range of 5–50°. It is said to supplement the advantages of a classic spotlight with motorised framing blades (±60° rotatable) on four levels. The AZOR W2 combines seven individually controllable 40W RGBL LEDs and a zoom range of 4–50° for classic wash looks. Featured is the eclipse burst effect –behind a dark filter are four segment SMD
The lighting manufacturer has also expanded the OTOS Series with three new models – the OTOS W12, OTOS W6 and OTOS W3. The OTOS WASH IP65 Wash moving heads are equipped with individually controllable RGBL LEDs and each has a separately controllable FX LED effect ring for the creative use of white tones and colours. A notable feature of the OTOS WASH Series is the multi-zoom function. Depending on
40kg and is designed to operate in a wide range of temperatures with C5M marinegrade salinity protection which shields the fixture against the elements. Its IP65+ rating and advanced gasket design also provides protection against dust and water ingress, eliminating the need for protection domes commonly used in outdoor installations. Meanwhile, its anti-tamper box not only
Additionally, the Harman brand has revealed the Exterior Wash Pro family. Building on the features of the Exterior Linear Pro family, the fixtures incorporate intelligent features that elevate colour performance in architectural lighting environments, including long-throw applications. Available in Quad and CTC variants, with four sizes in each, the compact fixtures are equipped with configurable beam control. The Quad variants are equipped with a dedicated colour temperature control channel
with a wide 4–27° zoom range, and emits a narrow, high-intensity beam of 300,000 cd. A backlight system with 24 RGB effect LEDs within the lens adds to the visual experience. Capable of outputting 2,400 lumens, the MAC One is powered by a 120W RGBL LED engine. Designed to be easy to handle and manage,
system controllers and P3 software update 6.0.0 provide automated mapping, scaling, configuring and addressing of fixtures, eliminating the need to address fixtures locally.
pro.harman.com
ELIMINATOR LIGHTING has released the Mega Hex L Par, designed for a variety of applications from uplighting walls to illuminating stages, highlighting décor elements and setting the mood on the dancefloor. With a lightweight and flexible design, it is equally suited to use by event companies and mobile entertainers as it is for permanent installation in bars, clubs and other leisure venues.
Powered by four 20W HEX (six-in-one) colour mixing LEDs and providing a concise native beam angle of 17°, the unit delivers a variety of colours, with each LED combining red, green, blue, lime, amber and UV elements and each with independent 0–100% dimming control. Inclusion of the UV element allows for the “black light” effect which causes white and neon coloured décor and clothing to glow when used alone, and it can also be combined with other elements to create vibrant colours such as hot pink, deep purple and electric blue.
The lime element allows for vivid shades of green as well as white light with a CRI of >90. A high CRI means that colours are rendered more accurately when the fixture is used as a wash to illuminate scenery, décor or performers, which is particularly important to ensure natural skin tones and enhanced depth. The fixture also offers tunable white light output with a wide colour temperature range of 2,300K (very warm) to 9,900K (extremely cool) and is pre-programmed with 15 presets to allow easy selection of popular options.
Thanks to a patented “sit-flat” design, inherited from sister company ADJ, the Mega Hex L Par may be placed directly on the ground or inside a truss because its IEC power and DMX input and output sockets are mounted on the sides of the fixture, not on the rear. These sockets are also grouped together, with the inputs on one side and the outputs on the other, to make cabling easier and neater. The included versatile two-part scissor yoke means that the unit can also easily hang from a truss or stand directly on the floor, locked into place at any desired angle.
www.adj.com
a light on 2024 with a raft of product launches across its Jolt and Vizi ranges. In keeping with the rest of ADJ’s Jolt Series, the Jolt Bar FXIP combines a bright white strobe/blinder LED with multi-coloured chase effects in the same unit, except the IP65-rated Jolt Bar FXIP can also be used outdoors. It features a central strip of 112 5W cool white SMD LEDs, surrounded on both sides by 448 1.5W RGB colour mixing SMD LEDs. This allows the fixture to generate intense white strobing as well as coloured washes and strobe effects. Both types of LED are grouped into independently controllable zones to generate strobe chases, and are wireless DMX enabled. Similarly, the Jolt Panel FXIP features a more condensed panel design with 800 1.5W RGB SMD LEDs for colour strobe, wash and other effects, as well as 48 5W cool white SMD LEDs to create the traditional look of a strobe. It also
AIMING TO add a retro style to broadcasts, Robe’s PATT family of LED fixtures has expanded with the addition of two variants. Available in two sizes and featuring a brushed aluminium finish, the HolyPATT and the MolyPATT bring a warm tungsten glow that can add scenic elements to any show. Based on Robe’s PATT2013, the HolyPATT and MolyPATT feature a 4W LED vintage soft coil filament lamp with a colour temperature of 1,800K to illuminate the surrounding parabolic reflector, producing a warm, atmospheric glow. Convection cooling means the fixtures are silent in operation.
Robe has also launched two products in the iT12 Profile and the T32 Cyc. The fully weatherised iT12 Profile is IP65-rated for outdoor use and boasts a CRI of 95+ and a 13,000-lumen output. It offers the advantages of Robe’s Transferable Engine technology, as well as standard Robe T-Series colour
channel modes and internal programs. The manufacturer has also evolved its Vizi Series of automated luminaires. The Vizi Beam CMY fixture uses a 310W Osram Sirius HRI discharge lamp to generate a 2° beam designed for aerial effects. It features CMY colour mixing and a 14-colour dichroic wheel that includes CTO (3,200K), CTB (9,000K) and UV filters. The fixture also offers a gobo wheel loaded with 17 static patterns (including four beam reducers) and a dynamic gobo shake effect. Users can access onboard wireless DMX, motorised focus, 16-bit fine focus and high-speed, three-phase pan and tilt motors. The fixture’s feature set includes two rotating prisms (16-facet circular and six-facet linear) which may be overlayed and a frost filter for creating wash effects.
www.adj.com
refinement and consistent and precise replay-ability. It features other Robe innovations like DataSwatch for quick
trusted colours and tones; low light linearity; 18-bit dimming for smooth fades to black; BARS, which locks the motorised zoom and focus firmly in position, even during power-cycling; and RAINS active management for humidity, temperature
Meanwhile, the T32 Cyc aims to address the challenges of effective cyc lighting to attain greater reach, smoother coverage and more visual impact from an LED luminaire. The lowprofile, easily inter-connectable T32 Cyc contains RGBBAL multi-chip LEDs to generate high light levels and reproduce full-spectrum colours and tints. A 6:1 height-to-distance ratio asymmetrical optical system produces a uniform flat field
cyclorama, freeing up valuable stage space for performers, sets and props. The T32 Cyc features Robe’s T-Series colour consistency and integrates with other lighting thanks to a virtually controlled CCT range of 2,700–8,000K, plus calibrated whites, the DataSwatch onboard colour library and tungsten emulation. Colours are rendered with ratings of CR:96 and TLCI:97, and RGB or CMY colour mixing control reportedly offers faster programming.
ALTHOUGH WELL-KNOWN FOR ANNOUNCEMENT AND evacuation staples such as car park speakers and horns topping minarets, there is far more to TOA Corporation than meets the eye. Founded by Nakatani Tsunetaro in 1934, the Japanese giant has steadfastly innovated and shaped sound reinforcement technology without fanfare and has many accomplishments worth recognising. As an audio solutions provider in the education, healthcare, hospitality, retail, industrial, transport, stadium and house of worship sectors, TOA Corporation operates sales bases in 20 countries, delivering products and services into over 120 countries through local business partners. Having amassed a track record of reliability over nine decades, TOA’s manufacturing facility in Kobe has a reputation for high-precision design and fabrication. In addition to Japan, manufacturing takes place to the highest Japanese standards in countries including Indonesia, Vietnam and Taiwan. However, it is within Japan that the brand’s status is accurately portrayed. TOA’s mission to supply premium audio equipment has never waned, and this was reinforced with the opening of Knowledge Square in December 2020. Like the Tokyo 2020 Summer Olympics, the opening of the new R&D base in Takarazuka City, near Osaka, was somewhat muted owing to the pandemic. Serving as a stimulant and catalyst of inspiration, Knowledge Square is making up for lost time by attracting collaboration from developers, business partners and specialised educational institutions.
“The term ‘Knowledge Square’ evokes the idea of a place where information comes together,” explains Yusuke Ueno from TOA’s marketing communication section. The R&D base is an intelligent building equipped with OA (office automation)-compatible floors and fibre-optic networking. The scene is set at the entrance, or Omotenashi, where visitors are greeted by a “welcome” sound and personalised hospitality is directed to each customer via sound, video and light. TOA’s aural corporate image is discretely provided throughout the building by telephone hold tones, time signals, elevator tones and other sounds.
A museum by the main entrance provides a snapshot of the company’s achievements across the decades. The exhibits, including reflex trumpet horn speakers developed in 1947 and
the world’s first electric megaphone seven years later, provide an impressive reminder. The development of horn array speaker systems and high-performance amplifiers was followed by automated guidance broadcast systems for train stations in the early 1970s.
Located in a highly volatile belt of seismic activity, many of TOA’s successes have been born out of natural disasters, providing an early warning for earthquake, tsunami and typhoon activity. A super-large PA system 6.6m in length with a 3m-diameter horn was audible at 12km in 1962. Emergency broadcast networks throughout Japan feature TOA’s horn array and slimline array systems, while emergency broadcast systems for fire alarms have been continuously developed. TOA also produces equipment for the domestic market including security camera systems, and was an early pioneer of digital signal processing with its Saori integrated sound processor, conceived in 1989.
Knowledge Square provides a snapshot of how TOA stimulates, develops and operates. Containing an R&D floor as well as various testing rooms, the Cocolabo building develops future technologies via TOA Mirai Solutions, collaborating with specialised companies. The Otolabo facility offers anechoic chambers for specialised
research and the Takalabo stores the company’s extensive documentation.
The futuristic theme continues throughout the largely open plan, five-level building. The vast facility is defined by open, light architecture, designed to stimulate new ideas through collaboration. Partnering with prominent innovators such as Daiko Electric, TOA aims to encourage business creation that will drive growth. Six clearly defined sections currently focus on real-world scenarios. In the event space on the upper level, the World Window is a monitor depicting real-time status and enabling two-way global communication for connecting TOA partners around the world.
Developed in partnership with NEC, the Smart Office Security operates in an open environment rather than through wall and door security. The system recognises a person and their security level from captured images and sensors. Speakers and signage are then used to deliver cautions or response to the area according to its settings. Designed to be friendly to both those conducting evacuations and evacuees themselves, people-friendly systems provide fire evacuation guidance and real-time alerts.
Developed prior to the pandemic, the meeting room identifies and translates a speaker in real time, displaying subtitles and automatically creating meeting minutes. Similarly, on the uppermost level, the smart sound lecture hall enables speakers to talk and move as they please without worrying about the position of the microphone or speakers. Volume and audio parameters are automatically adjusted to produce optimal acoustics without an engineer.
“Communication between workplace teams has become smoother compared to before, allowing both sides to arrive at mutually beneficial conclusions and enable greater cooperation,” says Otono Toru, executive officer of the global R&D division, of the move to Knowledge Centre. “Additionally, we have started undertaking research themes commissioned by clients and our office spaces are being increasingly utilised as co-creation areas.”
An exciting development for the Japanese giant then as TOA enters its 10th decade.
www.toa-global.com/en
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