Pro AVL Asia March–April 2025

STELLAR PERFORMANCE

Editor’s Letter

So, one minute we’re saying goodbye to 2024 and the next we’re putting the finishing touches to our March–April 2025 issue – what happened in the meantime? Well, with two of the industry’s biggest tradeshows now taking place in the first weeks of the new year, there’s no such thing as easing into January. Simon drew the short straw again by attending both shows which, thankfully for him and others, were separated by a week this year rather than last year’s back-to-back challenge; you can read his NAMM show report on page 66. Meanwhile, our eight-strong team hit Barcelona for ISE. What a good job there were so many hands on deck for a show that, frankly, took even the

most hardened of us by surprise, let alone ISE newbies Jack and Bea, who did a sterling job in helping to cover the expanded show footprint and battle the crowds (p70). This issue also features some of the projects we covered on our last few trips of 2024 which, for Richard, included a trip to Bangkok to report on the MotoGP racing (p50), while my time in Tokyo included a visit to the spectacular projection mapping show, Tokyo Lights, courtesy of Disguise (p58), and a stunning new Dolby Atmos studio at Universal Music Japan (p62). Back at base, we’re now putting our APAC travel itineraries together for the rest of the year; we’ll let you know when we’re heading your way!

Richard Lawn General manager rlawn@proavl-asia.com

Nick Smith Digital media manager nsmith@proavl-asia.com

Sue Gould Advertising director sgould@proavl-asia.com

Chris Yardley Video editor cyardley@proavl-asia.com

Carolyn Valliere Sales associate cvalliere@proavl-asia.com

Jack Stennulat Digital content creator jstennulat@proavl-asia.com

Simon Luckhurst Senior reporter sluckhurst@proavl-asia.com

Adrian Baker Production manager abaker@proavl-asia.com

Karen Wallace Editorial coordinator kwallace@proavl-asia.com

Marne Mittelmann Circulation manager circulation@proavl-asia.com

Bea Meikle News editor bmeikle@proavl-asia.com

Sue Su Guangzhou manager ssu@proavl-asia.com

Powersoft acquires majority stake in K-array

audio solutions provider. The combination of brands will reportedly open new joint business opportunities while allowing for the expansion of business offerings into new market segments within the Powersoft portfolio. K-array’s expertise in compact, high-performance loudspeaker engineering and design will accelerate the forecasted expansion into these new markets. The scope of the transaction also includes 50% of the share capital of the active US distribution setup, K-array USA.

arises from a successful partnership between two companies that have been collaborating for many years, with a strong territorial proximity and sharing a creative and innovative spirit, both convinced of the potential to create important product and technological synergies. We plan to enrich our portfolio with cutting-edge products, leveraging the expertise and resources of K-array to develop new integrated audio solutions for an ever-evolving market. The synergy between Powersoft and K-array is set to generate significant results in technological innovation.”

Powersoft. Our intention is to empower our resources, which now number over 100 highly qualified employees, for a promising future filled with opportunities and success. We have been collaborating with Powersoft since the beginning – beyond being neighbours and sharing an identity deeply rooted locally yet globally oriented, we are united by a strong passion for technology and sound.”

www.k-array.com www.powersoft.com

Shure celebrates 100 years

WORLD

Shure is celebrating its 100th anniversary, marking a century of audio manufacturing since the brand’s inception in 1925 by Sidney N Shure. The company has grown from its humble beginnings selling radio park kits in downtown Chicago to become a global manufacturer of microphones, conferencing and meeting solutions, and personal and professional listening devices, with more than 50,000 different products developed over 100 years.

In 1932, Shure became one of only a few US microphone manufacturers with the introduction of the Model 33N microphone. Now, its products are sold in over 120 countries and, through the decades, they have been used around the world by such luminaries as Dr Martin Luther King, Jr, Elvis Presley, Nelson Mandela, The Beatles and other icons.

Today, Shure products are used by performers, content creators, AV and IT professionals, sound engineers, educators, community leaders and music enthusiasts across the globe in studios, on stages and playing fields and in meeting rooms.

A staple of the manufacturer’s product line is the SM58 microphone, which was developed in 1996 and is still regularly used by vocal performances worldwide. The SM7B vocal microphone has also become an integral

part of the brand’s offerings, leveraged in broadcast, recording and podcasting industries. Over the years, the company has achieved a lot of “firsts”. The Vagabond 88 Wireless Mic was introduced by Shure in 1953 as the first wireless microphone, long before wireless technology became popular by the 1990s. The company introduced digital wireless in 2011 and, today, Shure digital wireless microphones are used across the world from large sporting events and global concert tours to high-profile business conferences.

Following an internal announcement on 8 January by its owner, Sphere Entertainment, Holoplot is to focus solely on projects for Sphere venues moving forward. Some 70 employees operating in sales, marketing, business development and applications support have been made redundant. Most of these positions are based at the company’s Berlin HQ where the software and hardware engineers and design teams will continue to operate.

development: Illinois, USA; Copenhagen, Denmark; Suzhou, China; Edinburgh, Scotland; and Hyderabad, India.

To commemorate this anniversary milestone, Shure plans to launch a series of special activities and products throughout the anniversary year including associate and customer celebrations.

www.shure.com

Having previously committed a 30% investment in Holoplot in 2018, the operator of the Las Vegas venue wholly acquired the remaining 70% ownership in May 2024 from founder Roman Sick. Following the X1 matrix array, Holoplot launched the X2 matrix array in 2023 for speech intelligibility applications. As a result, the German brand started establishing a distribution network around the world, including PCI in China and Amber Technology in Australia. Given the considerable investments these partners made, including demonstration facilities, it remains to be seen how they will be supported going forward. High-profile customers currently in limbo following the announcement include Lightroom London and Lightroom Seoul in addition to the Misr Masjid mosque in Egypt.

To date, Sphere owner Sphere Entertainment has not provided a comment.

www.holoplot.com

Holoplot’s X1 matrix array

sennheiser.com

DPA Microphones acquires Austrian Audio

DPA Microphones has acquired the majority share of Vienna-based Austrian Audio, founded in 2017 by former AKG Vienna employees with over 350 years of combined engineering experience. Austrian Audio’s mission is to “Make Passion Heard” by developing and producing high-quality microphones, headphones and audio tools.

The Danish company said it felt Austrian Audio complemented its own product range perfectly.

DPA is a leading manufacturer of miniature microphones, while Austrian Audio has a strong offering of large diaphragm models. Both companies address the high end of the market and, together, they will be able to provide a broader product range for the broadcast, music, theatre, live events and recording markets, developing professional audio solutions that meet evolving industry demands and prioritise the user experience.

“Austrian Audio is a rising star for high-end audio solutions and I am excited to join forces with such a strong team of audio professionals,”

commented DPA Microphones CEO, Kalle Hvidt Nielsen. “Together, we can deliver increasingly innovative products and further enhance the service for our customers, which will elevate both brands to new heights.”

Austrian Audio CEO and shareholder, Martin A Seidl, added: “To be recognised as a strong and influential brand after only four years in the market was such a great honour for Austrian Audio,” he said. “It is fantastic to have been selected to join forces with such an experienced and globally renowned partner. I very much look forward to what lies ahead for both brands.”

Austrian Audio will continue to develop and manufacture audio products under its own name in Vienna. “The ultimate key to a company’s success is the people and the culture,” concluded Nielsen. “With Austrian Audio, we get a significant addition of exceptional individuals and a culture of customer-focused innovation.”

www.austrian-audio.com

www.dpamicrophones.com

Q-SYS Hong Kong Experience Center opens

Located in Hong Kong, QSC Asia has opened the doors to its seventh Q-SYS Experience Center.

The space will offer customers and partners an interactive environment where they can explore the company’s solutions for collaboration spaces, featuring multicamera switching, room automation, presenter tracking and more.

Experience Center,” remarked Duncan Savage, vice president and general manager, APAC, QSC. “The Hong Kong and the Greater Bay area remains a key location for many of our customers and demonstrates our ongoing commitment to this market. The centre is more than a place to showcase technology, it is a space for collaboration, learning

The facility is equipped with the latest Q-SYS audio, video and control technology. It will enable visitors to get hands on with products and view them in a multitude of real-world applications including corporate and higher education. Located just minutes from the Hong Kong West Kowloon station, the experience centre allows easy access for partners and customers in Hong Kong and the Greater Bay Area of China.

“We are incredibly excited to share our new Q-SYS Hong Kong

and creativity, made possible with the support from our valued partners, consultants and the technologies they have provided.”

The space also includes a Q-SYS training facility that will feature practical training sessions led by Q-SYS technical experts. This dedicated space will play host to trainees who want to further deepen their understanding of the Q-SYS platform with the company’s training curriculum.

www.qsys.com

HONG KONG

L–R: DPA CEO Kalle Hvidt Nielsen and Austrian Audio CEO Martin A Seidl at NAMM 2025

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Radio Voice expands its DAS Audio arsenal

Kolkata-based sound and light rental company Radio Voice has expanded its sonic arsenal with the addition of a DAS Audio Lara line array system. Owned by Avijit Das, Radio Voice has made the investment to enhance its offering for live events and broadcasting applications.

The Radio Voice owner shared his thoughts on the investment: “Our journey with DAS Audio has always been about pushing the boundaries of sound. With the Lara system, we’re taking a leap into the future of live sound and broadcasting, ensuring our audiences receive nothing but the best.”

One of the oldest users of the brand in India, Radio Voice is highly familiar with DAS Audio and was an early adopter of the Aero 50 system. The latest addition of the Lara system is a testament to that enduring relationship.

Supplied by local distributor Stagemix, the purchase includes 18 Lara-80 cabinets, which will be leveraged for large-scale events and challenging acoustic environments. To provide a balanced audio output, the line arrays are complemented by 12 Lara-Sub units and four Ara touring racks.

“We were keen to introduce the DAS Audio flagship Lara system to a reputed user in East India,” commented Eshdeep Bhasin from Stagemix. “The sheer SPL output and amazing response of the system promises to make this a game-changer in large-format line arrays.”

www.dasaudio.com www.radiovoice.co.in www.stagemix.com

Peavey celebrates its diamond jubilee

Marking six decades of business, Peavey Electronics is celebrating its diamond jubilee this year. The manufacturer was founded in Meridian, Mississippi, by Hartley Peavey who continues to run the global company which now distributes over 2,000 products in 136 countries.

After he graduated college in 1965, Peavey founded Peavey Electronics Corporation, one year after receiving his first patent for a unique speaker enclosure. The business initially started out as a one-man shop above Peavey’s father’s ex-music store and has grown to become a large, independently owned manufacturer in the music and sound industry. Since its inception, the brand has issued over 180 patents, with new patents now in process.

Adhering to one of Peavey’s prime directives, “top-notch gear at a fair price”, the company has focused on providing accessible and affordable solutions for artists. Furthermore, the founder’s unique approach to the industry helped dealers and distributors around the world build businesses with fair pricing and new product solutions.

According to the manufacturer, it was the first company to break the “dollar per watt threshold” with the CS 800 power amplifier. This was

followed by the introduction of IPR switching power amplifiers in 2010, which utilised advanced Class-D designs that allowed Peavey engineers to significantly reduce weight while increasing output power, reliability and thermal efficiency.

It was apparently the founder’s frustration with high-end loudspeaker suppliers that resulted in Peavey designing its own ranges of professional loudspeakers, including the Black Widow and Scorpion cabinets which feature field-replaceable basket/coil assemblies, enabling users to eliminate reconing.

Another notable achievement came in 1993 when the brand launched its MediaMatrix system which, according to the manufacturer, was the first digitally configured and controlled audio networking system. It is now utilised in over 10,000 commercial installations globally, including many international airports, casinos, cruise ships and other large professional applications.

Peavey said that the core values the company was founded on 60 years ago are still intact today and they will continue to be what drives the brand both now and in the future.

www.peavey.com

INDIA WORLD

The Radio Voice team with their new gear

Hartley Peavey with gear circa 1972

ROE Visual unveils new HQ

CHINA

As part of a new chapter of growth for the company, ROE Visual has relocated its manufacturing and head offices to a new facility in Pingshan, a key manufacturing hub in Shenzhen. Streamlining operation efficiency, the move brings the entire team, including sales, production and R&D processes, under one roof.

Located in a dedicated industrial park, the new headquarters features a manufacturing area 20% larger than the previous Daya Bay site, with double the workshop space. The new production facilities feature a modern infrastructure designed to provide fast turnaround times and product consistency.

Streamlined, partially automated processes, coupled with specialised SMT production lines, provide tailored and efficient manufacturing across every product series. Moreover, the data-driven workshop integrates real-time production monitoring, digitalised equipment management and future plans for real-time tracking, with the aim of benefitting both businesses

to our relentless pursuit of excellence and the remarkable growth we’ve achieved over the past 18 years – a milestone the entire ROE Visual team can take immense pride in,” commented Jason Lu, general manager, ROE Visual. “This move is a significant chapter in our history, reflecting the dedication of our team, the trust of our partners and the unwavering support of our clients.”

showroom, providing an immersive environment for clients to experience and interact with the manufacturer’s LED solutions.

Sustainability played a central role in shaping the new facility. To safeguard air quality, the rooftop is equipped with exhaust treatment systems capable of processing 180,000m³/h and the workshop is fitted with exhaust extraction devices to improve ventilation and air circulation. Solid waste management is equally prioritised, with close collaboration between the industrial park and an environmental protection company to further improve the handling of waste.

Furthermore, the facility’s solar panels generate approximately 600,000kWh annually, reducing the company’s carbon footprint.

“The opening of ROE Visual’s new headquarters is a testament

Jason Lu of ROE Visual

BSG enhances its L-Acoustics inventory

Brisbane Sound Group (BSG) has become Australia’s first L-Acoustics rental network partner for the L Series concert sound system. The purchase includes four L2 and two L2D elements, complemented by LA-RAK III touring racks and additional KS28 subwoofers.

“Our journey with L-Acoustics has been one of continuous growth,” explained Josh Bonnici, operations and marketing director, BSG. “Adding the L Series was a natural progression that aligned perfectly with our operational needs and growth strategy.”

BSG’s head of technical resources, Rob Bird, added: “We conducted extensive analysis using Soundvision to compare the L Series’ performance against our existing inventory in familiar venues. The results were compelling –the L Series not only promised superior performance efficiency but also expanded our capabilities significantly.”

To achieve L Series Rental Network Partner status, BSG’s technical staff completed L Series training delivered by the manufacturer at its Northgate facility, covering both stereo and L-ISA immersive audio applications.

www.brisound.com.au www.l-acoustics.com

Sun Infonet hosts its Symposium

Sun Infonet recently held the Sun Infonet Symposium at the Hotel Conrad in Bengaluru, with support from partners Shure and Meyer Sound. With AV industry personnel and end users in attendance, Sun Infonet offered hands-on demonstrations of products focusing on key verticals: boardroom,

Shure, Allen & Heath, Meyer Sound and Quest Engineering, applied across a range of venues and applications.

A live demonstration of a town hall solution was also featured, where attendees had the opportunity to witness real-time operation. This demonstration covered everything

panel shared insights about where the industry is headed with tools like AI, in addition to discussions on industry challenges and opportunities.

Sun Infonet said the goal behind the event was to not only showcase products but also to create a platform where solutions could be thoroughly discussed and queries directly addressed by OEMs, consultants and integrators.

An auditorium solution was showcased, designed to highlight the complete audio signal chain, featuring a diverse selection of products from

training rooms highlighted the importance of exploring various audio setups to enhance collaboration and conferencing experiences. Various professionals from the AV, consulting and integration sectors explored audio concepts such as voice lift, sound reinforcement and unified communication and collaboration. Several concepts were demonstrated, including ceiling array and table array microphones, plus integrated camera tracking systems.

www.suninfonet.net

Partnering with NETGEAR AV, LEA Professional is extending the interoperability between NETGEAR’s line of managed switches and its Connect Series IoT-enabled smart amplifiers. The partnership will highlight the compatibility of the two companies’ product portfolios.

“We are always looking to form partnerships with companies who are unique, driven and share our values of quality and performance,” said John Henkel, director of product marketing, NETGEAR AV. “LEA’s team and technology align with this perfectly, with top-tier technology and customer

service. We know that, together, we have the opportunity to offer an unparalleled experience.”

“We’re proud to partner with a company with such a wonderful history and reputation,” added Brian Pickowitz, VP of marketing, LEA Professional. “NETGEAR has proven time and time again why they are a global leader in the AV space. Our customers can rest assured when their system specifications require NETGEAR and LEA Professional products.”

www.leaprofessional.com www.netgear.com

L–R: Neeraj Chandra, Karthikeyan Kanniappan, Selwyn Fernandes, Andrea Granata, Anthony Lovell and Sachin Hallikeri

KX SERIES THE KEY TO PURE PERFORMANCE

The KX Series encompasses powerful active speakers that deliver superior sound performance, featuring advanced DSP, remote management capabilities, full weatherproof protection, and unmatched scalability. Engineered for high-power efficiency, these rider-friendly speakers boast robust hardware and a lightweight design. The KX Series sets the stage for a new benchmark in professional power, accuracy, and coverage.

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Sound.com boosts its Adamson stock

Mumbai-based audio rental company

Sound.com has boosted its inventory with the addition of Adamson E219 subwoofers and Lab Gruppen PLM 20K44 amplifiers. Founded by Warren D’Souza, the company provides professional sound systems for live concerts, tours and events in the region.

Sound.com handles some of the country’s most high-profile live shows and tours. To keep pace with the rapidly growing tour sound market in India, it has added 18 E219 subwoofers powered by PLM20K44 amplifiers. When coupled together, the products provide a versatile sound system for stadium tours and open-air festivals.

“India’s live event industry is experiencing unprecedented growth and Sound.com is committed to staying ahead of the curve,” commented D’Souza. “The Adamson E219 subwoofers paired with Lab Gruppen amplifiers allow us to deliver the depth, clarity and power needed for today’s demanding productions.”

Karan Nagpal from Stagemix, Adamson’s distributor in India, added: “One of the things that makes the E219 so popular is its sound quality and high SPL levels. The subwoofer is used on the largest tours in India and abroad and continues to be a popular choice with rental companies. It’s

1 SOUND’s Indonesian distributor

Riedel has expanded its growing 5G enterprise with the acquisition of MECSware, a specialist in private 5G technologies. Through the agreement, MECSware will join the Riedel Group, but will remain an independent company. Established in 2015 by Dr Torsten Musiol, MECSware develops and supplies 4G/5G system solutions for private networks that have been designed to be easy-to-deploy and operate. The company has worked alongside Riedel to develop the private 5G network solution, Easy5G. “We are thrilled to be joining forces with Riedel, which will open up exciting new applications for our technologies all across the globe,” commented Musiol.

Thomas Riedel, founder and CEO of the Riedel Group, remarked: “I am more than happy to

been a great experience working with Sound.com and seeing their business grow over the years.”

www.adamson.ai www.labgruppen.com www.stagemix.com

Melodia Production has held a series of launch events in Jakarta and Surabaya showcasing the brand’s portfolio, including the Level Series and a range of subwoofers and monitors. Both parties noted the launch events a success, with various local systems integrators, church tech teams, hotel management teams and owners, and production and rental companies in attendance.

“We had a great turnout for the 1 SOUND events produced by our distributor, Melodia,” said Leo Dani, sales executive, 1 SOUND. “Together, we were able to educate the Indonesian market on 1 SOUND’s

Singapore-based AVL rental company

The Production People (TPP) has invested in its first Robert Juliat fixtures with the purchase of two Oz 1169 followspots. Provided by the manufacturer’s regional distributor, Total Solution Marketing, the fixtures will serve as a replacement for TPP’s previous 1,200W MSR followspots.

TPP’s director, Sheldon Gooi, explained the reason for the upgrade: “We were aware that our old stock was becoming more unreliable and were receiving an increased number of calls for renewals, especially from our theatre productions which have need for a quality product. We therefore chose to upgrade with

Robert Juliat because of the light quality and precision of the product.” Gooi also explained why the team ultimately chose the Oz units: “Its LED source reduces power consumption and the amount of heat generated, while its brightness is comparable to our old followspots. In terms of brightness, precision, optical and engineering quality and a robust build, they tick all our boxes. The new Oz followspots will be a perfect fit for the small to mid-sized theatres amongst our clientele.”

The TPP team cited the guidance and service they received from the manufacturer’s local distributor. “The service support we’ve been used to from TSM was a plus point for

loudspeakers and how they can meet the needs in a wide range of industries.”

Rudy Winarto, CEO of Melodia Production, commented on the launch days: “The events in Surabaya and Jakarta were very successful. People are stunned and amazed by 1 SOUND’s sound quality, innovation, brand philosophy, technology and detail behind each unique loudspeaker. We believe we are getting the attention of audio professionals through 1 SOUND, and we’re looking forward to seeing this brand continue to grow in Indonesia.”

www.1-sound.com www.melodiamusik.com

welcome Torsten and his team to the Riedel family. The first fruits of our shared labour are nothing short of a breakthrough, as Easy5G’s debut delivers both the reliable, high-capacity upload connections and the flexibility required for media and event productions.”

Jaqueline Voß, executive director, strategy and innovation, Riedel Communications, added: “Our partnership with MECSware exemplifies how we harness cutting-edge technologies to enhance our ecosystem and deliver unmatched value to our customers. It not only bolsters our managed technology division but also paves the way for future product innovations – the possibilities for this technology are virtually endless.”

us,” added Gooi. “It gives us the confidence that, whatever issues we will face in the future, we will have reliable backup from TSM.”

Glenn Wong, managing director, Total Solution Marketing, commented: “We have enjoyed a longstanding partnership with The Production People. We are delighted that TPP

has chosen the Oz, which further validates the reputation of Robert Juliat followspots. We extend our heartfelt thanks to TPP for their trust in selecting these fixtures.”

www.robertjuliat.com www.tpp.com.sg www.tsm-int.com

The TPP team with their new Oz fixtures

L–R: Karan Nagpal with Warren D’Souza

L–R: Leo Dani and Rudy Winarto presenting 1 SOUND

Bridging in-room and personal headphone monitoring

Our UNIO TM Ecosystem gives the ability to optimise, align and seamlessly navigate your monitoring options, for the exibility to work anywhere, anytime – from stereo to immersive.

Now, with the introduction of Personal Reference Monitoring – our pioneering new active monitoring headphone solution –UNIO offers the very highest level of headphone accuracy.

genelec.com/unio

New Asia partners for Powersoft and Xilica

Universal Procurement Systems (UPS) has become the new distributor in Singapore and Vietnam for both Powersoft and Xilica. At the same time, the Italian amplifier manufacturer has appointed Qorsys AV Technologies to represent the brand in the Philippines.

Headquartered in Singapore, UPS has built a reputation for its professionalism and strategic approach to pro audio distribution in Southeast Asia. “Powersoft has always focused on developing technologically advanced solutions beyond amplifiers,” said Christian Liebenberg, senior consultant at UPS. “Their work on projects like Sphere in Las Vegas, where Powersoft provided 167,000 channels of amplification for the Holoplot X1 system and 10,000 Mover units, is truly inspiring. We aim to grow Powersoft amplifier sales organically, achieving a healthy market share across verticals like hospitality, entertainment and rental. By focusing on solution selling, building strategic partnerships and offering value-added services, we are confident we can deliver best-in-class efficiency and reliability to our clients.”

Qorsys, a trading name of Ozum Sales Dynamics, is similarly well-regarded in the Philippines for its offerings and customer support.

Vizrt appoints Midwich

Vizrt has announced the addition of Midwich Asia to its expanding ecosystem of partners. Marking a new era of growth for both companies, the partnership aims to enhance Vizrt’s solution offering for content creators in Southeast Asia.

Both parties believe the alliance will respond to the region’s significant growth in demand for live production experiences, driven by its young population. Midwich, which works with over 300 dealers, is on the path to becoming a certified partner in Vizrt’s extensive graphics portfolio to expand its offerings to live productions across the region.

“At Midwich, we want to distribute the best of breed products and solutions to our customers, whichever point they’re at

ongoing APAC expansion. “We are looking forward to working with UPS, as they bring invaluable local expertise and exude a passion for audio excellence,” Xilica CEO James Knight announced. “Xilica has identified the requirement for greater local support with sales teams on the ground in both Singapore and Vietnam. There is a lot of value to be gained by working with an experienced distribution partner who understands the direct dealer business. With our advancements in approachable, automated room audio technology, I am confident that our products will add value to UPS’s customer base.”

“Xilica’s very forward-thinking management has always focused on developing technologically advanced solutions beyond DSP,” added Liebenberg. “Offering high-quality audio and excellent management capabilities, these endto-end solutions are perfect for users operating in medium to large-sized meeting rooms. I am confident that UPS will further penetrate the education and government sectors with Xilica’s brand-agnostic portfolio.”

www.powersoft.com proaudio.upsprocurement.com

in their live production journey,” remarked Dan Fletcher, managing director, Midwich APAC. “The partnership with Vizrt means we strengthen our offering with their suite of products and solutions – from the accessibility of the Go products up to the capabilities of the graphics.”

Paul Shutt, head of channel sales APAC at Vizrt, added: “There is an undeniable appetite to expand live production possibilities in Southeast Asia. Our partners are essential in delivering the latest innovations to content creators of all sizes, ensuring our mutual growth and local support to the end user.”

www.midwich.com.sg www.vizrt.com

Ramon Borja, general manager, Qorsys AV Technologies, added: “We’re pleased to announce that we’ve already started providing A-T products to our systems integrator partners, who have responded positively. Several proposals are already incorporating our products.”

Audio-Technica SEA has entered into a tripartite partnership with JB Music, the official distributor for Audio-Technica in the Philippines, and Qorsys AV Technologies, the authorised Philippines distributor of QSC systems. Through the agreement, JB Music and Qorsys AV Technologies will share common resources and technical support from Audio-Technica SEA to ensure service excellence to users.

“This tripartite partnership reflects our careful and deliberate strategy to strengthen Audio-Technica’s presence across ASEAN, while fostering longterm relationships with our partners,” said Teng Shaokai, managing director, Audio-Technica SEA. “The collaboration underscores our commitment to providing outstanding value to our customers, ensuring product excellence and expanding our leadership in the professional and commercial audio industries.”

Michael Joseph De Vera, pro audio manager at JB Music, said: “I am delighted to announce that Qorsys has been appointed as our Master Partner. Our tripartite partnership with Qorsys and ATSEA will enable us to enhance our offerings to our existing clients by providing exceptional products from Audio-Technica and advanced DSP solutions from Q-SYS and saturate the commercial market further.”

Jerico Salango Fernando, president of JB Music, concluded: “This collaboration paves the way for innovative advancements in the audio industry. Together, we aim to elevate the standards of audio experiences, ensuring that our community has access to the best sound solutions available.”

www.jbmusic.com.ph www.qorsys.ph

sea.audio-technica.com

L–R: UPS’s Hoa Ho Dang Duy, Christian Liebenberg, Niem Nguyen Luong, Bien Lu Thanh and Truong Tran Vinh Phu

The Vizrt and Midwich Asia teams

• MICHEL ARNTZ

GLOBAL SALES DIRECTOR ROBE

Stagetec enhances its leadership team

Ushering in a new era of leadership, Stagetec has welcomed two new members to managerial roles. Craig Newbury joins the company as managing director, while Markus Maschke has been appointed as head of product management.

• MARK RAVENHILL

• DIRECTOR GLP

As managing director, Newbury will oversee sales, marketing, project management and service operations, ensuring optimum service for clients and partners. “Together with the rest

of the team, I am enthusiastic about meeting the commercial and workflow challenges of our customers through the ongoing development of our current and upcoming innovations,” he said. Meanwhile, Maschke will lead the charge in advancing Stagetec’s product portfolio, leveraging new technologies and delivering solutions tailored for the future. “I am thrilled to combine my diverse experience and passion for market-driven innovation with a strong,

commented Maschke. Wolfgang Salzbrenner, CEO of Stagetec, commented: “With Markus advancing our product innovation and Craig strengthening our client-focused strategies, we are poised to achieve significant growth and deliver exceptional value to our partners.”

www.stagetec.com

Lawo promotes Oliver Parker Bharath Kumar named Kramer APAC president

Oliver Parker has been promoted to head of global sales at Lawo, where he will be responsible for meeting global revenue targets and overseeing the sales management team.

Parker first joined Lawo in 2023 as head of sales, enterprise and SaaS, and has since established himself as an accomplished sales leader with a proven track record of driving high revenue growth for the manufacturer’s technology. Lawo said that his technical background enables him to clearly articulate the value proposition of its products and services, creating strong connections with customers and partners.

“I am excited to lead Lawo’s global sales team,” commented Parker. “My career has been built on driving growth through strategic innovation and a deep understanding of technology’s role in shaping market value. I look forward to leveraging my experience to not only exceed

our revenue objectives but also to foster an environment where every team member is empowered to excel.”

Jamie Dunn, Lawo vorstand and deputy CEO, remarked: “Oliver’s leadership, strategic vision and technical insight make him the ideal choice to steer our global sales efforts. His comprehensive approach to market expansion will be instrumental in delivering on Lawo’s growth objectives.”

www.lawo.com

Kramer has welcomed Bharath Kumar as APAC president, succeeding Marc A Remond, who will be stepping down from his position. A 19-year veteran of the company, Kumar has been instrumental in driving Kramer’s growth and market presence, including establishing Kramer India, managing global accounts and serving as APAC VP of sales. Bringing a wealth of experience, Kumar is a former member of AVIXA’s board of directors. The manufacturer said that his deep understanding of Kramer’s business and strong relationships across the region ensure seamless continuity and a robust foundation for future growth.

During his tenure as APAC president, Remond has made significant contributions, including establishing the company’s new regional headquarters in APAC and fostering strong partnerships in the market. Kramer noted its gratitude

for Remond’s leadership and wished him all the best in his future endeavours.

“I am confident that Bharath’s extensive experience, industry leadership and strategic vision will further elevate Kramer’s presence

and impact in this critical region,” commented Gilad Yron, CEO, Kramer. “At the same time, we are grateful to Marc for his leadership and the strong foundation he has built for Kramer’s success in APAC.”

www.kramerav.com

• MIKE CRONK VP OF STRATEGY

L–R: Craig Newbury, Wolfgang Salzbrenner and Markus Maschke of Stagetec

Williams AV boosts its sales teams

Williams AV has expanded its international sales team with the appointment of Michael Carvosso as international technical sales manager for Australia, New Zealand and Southeast Asia, while Sanjay Kumar assumes the role in Southeast and East Asia, plus MENA. Per Persson, VP of international sales and business development at Williams AV, said the appointments follow a year of explosive sales growth in Europe, Australia and the Middle East. “Michael and Sanjay’s extensive experience in the pro AV industry will strengthen our ability to serve these key regions and further drive our expansion,” he explained. “They have a proven

track record of fostering strong relationships and their extensive industry experience and ability to bridge technical complexity with client needs will provide our customers with unparalleled support.” Carvosso’s over 25-year career includes leadership roles at Bose Professional, Australiabased distributor Westan, Philips Electronics and Avico Electronics. In his new role, he will leverage his extensive knowledge of the Australian and Southeast Asian markets to drive Williams AV’s regional growth and support customer success.

Meanwhile, Kumar will utilise his deep understanding of his region’s markets to deliver enhanced technical and consultative support to clients.

• MARKO JOVANOVIĆ

• IAG APPLICATION AND SOLUTIONS ENGINEER

WHARFEDALE PRO

Dragonfly SMPTE

LEMO SMPTE

SmartBeam

Michael Carvosso

Sanjay Kumar

Reel Life

Dan Zimbelman, senior international business development at PMC Speakers, shares his passion for deep sea fishing

What does your role at PMC entail?

After retiring from API as director of sales for 30 years, I was recruited to develop the global market for PMC, responsible for all PMC Professional sales outside the UK and US. At a partner meeting they had great fun at my expense by listing me as “very” senior international business development and I use it all the time now.

How did you get into fishing?

My parents took a photo of me at age five, napping on a couch with a fishing rod in my arms. My Dad and I fished a lot. When I was a teen, it would be me, my mom and dad in a small boat, fishing freshwater lakes in North Dakota, where I grew up. As soon as I had a driver’s licence, I would trailer our boat to a lake and fish on my own. A few trips to wilderness lakes in Canada gave me my first taste of travel fishing. After experiencing the ocean and saltwater for the first time in the Dry Tortugas off the Florida coast, I was “hooked” for life. I bought my first boat in Chicago and learned to fish Lake Michigan for salmon and trout. This was my introduction to big water high-tech fishing. Owning a studio business at the time gave me opportunities to spend time on the water. I operated a boat for years set up like a charter, but only fished for family, friends and business clients. Moving to Maryland in 2003 put me in the middle of Chesapeake Bay, where the fishing was hot for striped bass.

Where do you do it?

I fish both fresh and saltwater. I love fishing light tackle, shallow water in marshes as much as offshore, including conventional and fly fishing. I have had the opportunity to fish Panama, Guatemala, Mexico, Belize, Argentina, Portugal and Japan. And now, living in Florida gives me almost unlimited opportunities for skinny [shallow] water fishing for redfish, flounder, sea trout and more, freshwater fishing in the inland lakes and rivers and – my favourite – offshore fishing for species from red snapper to mahi mahi and blackfin tuna. But the most exciting times for me are travelling to Latin America and fishing Mexico, Guatemala, Costa Rica and Panama.

way. To fish with Captain Chris Starrs and his team in Guatemala catching 12 in three days was incredible. I will never forget a day in a small skiff, 65 miles off the Mexican Pacific coast with my son, Matt. Over the course of 15 minutes, we hooked three large yellowfin tuna. After two-and-a-half hours of battle, we landed all three of them, with the largest at 180lb and the smallest 120lb. Elme, the captain, said: “Ok Señor Dan, you are no longer a Señorita!”

How do you fit deep sea fishing around your day job?

I’m quite intense in my work – I really love it and the people I work with. I bring that same intensity to fishing. I live on the water in Florida with my boat next to my home, so I’m able to take advantage of the convenience. Between my closest friends here, we have more than a few boats, so there is always opportunity.

What about it gives you fulfilment?

What is a memorable moment you’ve had so far?

So many! Last January, fishing from Guatemala and landing 24 big Pacific sailfish in three days, with 12 of them caught on flyrod, was just epic for me, as was launching a small skiff from a deserted beach in Panama and fishing popping lures for roosterfish, jacks and Sierra mackerel with 17 species landed in three days. Fly fishing a stream in northern Portugal with over 40 sea-run trout in a day was off the charts. Fishing Oshima Island off the coast of Japan with a good friend, engineer and producer Goh Hotoda, was an exotic experience. And during our PMC installation at LPME Studios in Dubai, fishing the Gulf of Oman for mahi mahi and tuna was fantastic.

What is the most challenging fishing trip you’ve done?

Saltwater fly fishing for large pelagic fish is a serious challenge. It’s a ballet between the boat captain, the mates and the fisherman. Many go a lifetime trying to catch one sailfish that

The escape. Being on the water and focused on the day removes the normal cares of life for me. I love taking friends’ kids fishing and seeing the excitement on their faces when they catch a fish for the first time. Some say fishing is boring… not the way we fish! It takes intense focus. The eco tour, experiencing the water, the sea life and nature are all a huge part of the experience. The tug on the rod, the explosive strikes, the adrenalin fix of the power of a big fish – it’s all woven into the best days of my life. Not to mention the freshest fish dinners from those we enjoy eating.

What advice would you give to someone who wants to begin deep sea fishing?

Get a guide, book a charter and get on the water! Go to a tackle shop and engage with people; there is so much education available today, both in-person and online. Most fisher people are friendly and glad to give advice and share their knowledge. Great fishing opportunities are almost everywhere there is water.

Dan Zimbelman lands an American red snapper

Dan Zimbelman

Tradition meets innovation at Prince Mahidol Hall

In collaboration with Stagetec Asia and local distributor DiGiTRA, Prince Mahidol Hall recently underwent a comprehensive audio infrastructure upgrade. The hall is part of Mahidol University, Thailand’s oldest medical

and is regarded today as a prestigious centre for excellence in research, medicine and a wide range of academic disciplines.

One of its key landmarks, Prince Mahidol Hall is located on the Salaya campus and

as a symbol of the university’s dedication to tradition and innovation. This 2,000-seat theatre is renowned for its “shoebox” concert hall design, which optimises acoustics, while its architecture draws inspiration from the human skeleton, reflecting the university’s medical roots. Blending traditional Thai elements with design features such as a duallayer roof and steel ribbing, Prince Mahidol Hall is crafted for world-class performances.

The hall now boasts a highly integrated system centred around the already existing Stagetec Nexus audio network and the Yamaha CL5 digital mixing console. “The integration of Nexus and the Yamaha CL5 is a game-changer,” stated a representative from Prince Mahidol Hall. “This system offers us unprecedented audio precision, setting a higher standard for both large-scale orchestral performances and smaller, more intimate gatherings.”

Central to the upgrade is the TrueMatch microphone preamplifier, with its dynamic range of 158dB and 32-bit A/D conversion and ultra-low-noise performance. Combined with Nexus’s Dante interface (XDIP board), engineers can individually control each microphone preamp with four-way splits, providing optimal sound throughout the venue. This integration not only enhances FOH and foldback systems but also

Group Technologies delivers for Melbourne’s Suzie Q

Located on Melbourne’s iconic Chapel Street, contemporary Chinese restaurant Suzie Q features audio solutions from NST Audio and Quest Engineering to enhance the ambience for diners. The restaurant was recently built by Mama’s Dining Group and the AV fitout was courtesy of commercial construction experts Directitude. “Our directors are all from nightclub backgrounds, so we understand the importance of creating good ambience with sound,” said Lucas Gugliandolo of Mama’s Dining Group. “It’s extremely important to maintain throughout the restaurant and it creates a fantastic atmosphere for our customers while enjoying a beautiful dish of food.”

The project leveraged Directitude’s specialisation in producing hospitality venues and its director David Miller’s history as a DJ to ensure that the audio requirement was firmly at the heart of the design. Miller explained that a quality system with flexibility and consistent sound throughout the venue was a must when assessing audio solutions with Group Technologies.

“I have been to the GT training and demonstration facility with various clients many times, and they are always blown away by the products,” said Miller. “Quality and value for money drove our speaker selection process, leading us to six Quest HPI8i positioned in the main dining area and MX601 in the common areas, spaced evenly throughout.”

The system is powered by two QX4300 and one QX4750 Quest amplifiers and uses an NST

Audio VMX88L for zone control. According to the director, Suzie Q’s sonic architecture “has delivered and exceeded the brief and from a control perspective it’s simple for the end user to operate and control”.

Miller also noted that due to Suzie Q’s vast ceilings, the team sought a speaker that could deliver quality sound to the entire main space. “The HPI speakers pack a huge punch

significantly improves the hall’s recording capabilities.

For enhanced sound control, the venue has adopted XMIC digital microphone splits and XMIC+ 8-channel physical input boards, featuring 32-bit TrueMatch converters designed to provide clarity and precision in every performance, whether it’s orchestral symphonies or keynote speeches.

“This upgrade has significantly revolutionised the auditory experience for all our events, reinforcing Prince Mahidol Hall’s standing as one of the leading performance venues in Southeast Asia,” added the hall’s spokesperson. “Our latest infrastructure allows for real-time sound mixing, ensuring our engineers can adjust audio seamlessly during even the most demanding performances.”

With this latest advancement, Prince Mahidol Hall continues to lead in acoustic innovation, offering a level of sound quality to match its iconic status. From worldclass concerts to intimate events, the hall remains a top destination for international performances, reflecting its commitment to excellence in both audio and visual experiences.

www.mahidol.ac.th/princemahidolhall www.stagetecasia.com

and provide perfection throughout the dining area, with plenty of space in the system to turn the volume up for late night special events when required,” he said. “Meanwhile, the MX Series speakers provide fantastic background ambience across the lowered ceiling areas and transit spaces. All the speakers fit in perfectly with the design and the HPI8i units have actually been enclosed in some dummy retro speaker boxes to enhance the feel of the modern take on a retro Chinese restaurant.” According to Gugliandolo, the staff are impressed with the final result: “The Quest loudspeakers coupled with the Quest amplifiers give a really consistent and crisp sound throughout the venue. We enjoy the NST system that Directitude have installed, it’s very easy for the staff to use. It’s been a pleasure to work with.

www.grouptechnologies.com.au www.nstaudio.com

Quest HPI8i units adorn the walls in the main dining area

L-Acoustics brings its A game in Tokyo

A cornerstone of Asia’s jazz scene since 1988, Blue Note Tokyo in Minato City has enhanced its sonic signature with an L-Acoustics

A Series sound system. The 280-seat intimate venue hosts diverse musical genres and faced the challenge of delivering consistent, warm sound throughout its wide seating layout.

“Our previous system struggled to reach the venue’s rear sections without compromising the intimate feel we’re known for,” explained Toshiharu Yamauchi, sound and lighting manager and chief sound engineer at Blue Note Japan. “I didn’t want the sound to just pop out from the speakers – it needed to emanate naturally from the stage.”

The audio system was provided by local distributor Bestec Audio. “L-Acoustics possessed that warm feeling and sense of space our venue needed. Other systems we tested offered clarity but felt mechanical, lacking the natural sound we were after,” added Yamauchi.

The main system features two hangs of A15 arrays per side, each combining

one A15 Focus and two A15 Wide models for optimal coverage. Low-end definition is provided by two groups of twin KS21

subwoofers ground-stacked on either side of the stage. A10 Wide speakers handle front fill duties and X12 cabinets cover out fill

seating. The system is driven by four LA4X amplified controllers.

A key part of the project is the installation of 5XT coaxial boxes driven by an LA2Xi amplified controller to the FOH booth located in the mezzanine. “This upgrade has revolutionised our workflow,” noted Blue Note Japan sound director, Akihiro Mito. “The sound quality of the 5XT perfectly matches the main system, eliminating our previous need to constantly verify mixes from the first floor. It’s dramatically improved our efficiency and confidence in delivering the perfect mix.”

Sound engineer Asogi Komiya added that the consistency between the booth monitors and the main system has elevated their entire operation. “While the system challenges us to perfect our craft, it’s incredibly rewarding. Every night presents a new opportunity to enhance Blue Note Tokyo’s immersive live music experience through the A15 system.”

www.bestecaudio.com

www.l-acoustics.com

Christie inspires at Nexo and Quest revive Anglers Tavern

Christie’s Inspire Series 1DLP laser projectors are delivering immersive experiences at electric automaker BYD’s new energy vehicle museum in Zhengzhou. The first of its kind in China, BYD Zhengzhou Di Space is a 15,000m2 complex spanning four floors over 300 exhibits, featuring interactive visual narratives that merge science, technology and innovation showcasing BYD’s automotive vision.

At the heart of Di Space’s visuals are 26 Christie DWU860-iS units, installed and commissioned by the manufacturer’s partner Jianye Display. The laser projectors illuminate the facility with content, from the feature wall on the first floor to the expansive “ribbon space”, exhibition hall and detailed displays on the second floor.

“Our choice of the Christie Inspire Series projectors for Di Space is driven by their exceptional quality and reliability,” said Yong Hong, project manager, Jianye Display. “These 8,500-lumen projectors consistently deliver astonishingly vivid visuals that delight and engage visitors in every exhibit. With its robust design, quiet operation and reliable, virtually

maintenance-free performance, the Inspire Series empowers us to create an unforgettable, immersive experience throughout this new energy vehicle museum.”

Across the facility, the visual displays vary in size, with the largest measuring 14m x 4m and smaller exhibits at 1.6m x 1.6m, creating an array of experiences for visitors. According to Hong, one of the project’s highlights was navigating site-specific challenges, such as manually aligning projection angles to accommodate intricate design details. These efforts aimed to optimise the displays’ impact, ultimately enhancing visitors’ knowledge and confidence in science and technology.

April Qin, senior sales director for China, enterprise, Christie, remarked: “We’re proud that the Inspire Series laser projectors are contributing to such a unique and engaging space where visitors can experience the potential of new energy vehicles firsthand. Christie’s technology brings BYD’s mission to life with every remarkable display.”

www.christiedigital.com

AUSTRALIA

Nexo and Quest Engineering speakers have been installed in the newly rebuilt Anglers Tavern located on the banks of Melbourne’s Maribyrnong River. The audio enhancement was carried out as part of a complete remodelling of the pub following a devastating flood that decimated the venue in 2022.

Factory Sound’s projects manager, Justin Mackay, spearheaded the sound design. “At Factory Sound we’ve executed plenty of massive projects from scratch, but nothing rebuilt from a flood,” said Mackay. “Influencing our plans were strict regulations for flood and fire protection, so aspects such as limited mounting locations and where cables could be run brought a distinct set of needs to our brief.”

Anglers Tavern has always been well-known for live music and DJ events and prior to the flood the venue utilised Nexo PS10 loudspeakers. The pub chose to implement the units again in the remodelling, employing P10 units and L15 subs for the main bar alongside ID24 compact loudspeakers for fill, resulting in higher SPL,

greater coverage and a lower-profile aesthetic that the previous iteration.

Mackay said that a total boost to audio proficiency was a clear necessity in other areas, with the team suggesting Quest due to the brand’s value for money and reliable capability. The function area features HPI25 loudspeakers with HPI12S subs, while all other indoor and outdoor zones leverage weatherproof MX801 monitors.

“For people whom audio matters, the AV infrastructure has been a hit,” concluded Mackay. “Nexo has always been great for high output and, together with Quest, we knew we’d get exactly what we needed. It’s been a real bonus using the two brands together, we have consistent, streamlined sound throughout the venue and we were very comfortable recommending these products for the project.”

Blue Note Tokyo’s main L-R installation of two hangs of one A15 Focus and two A15 Wide per side

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EDC debuts in Thailand with INFiLED

The Electric Daisy Carnival (EDC) made its highly anticipated debut in Thailand recently, backed by over 900m2 of INFiLED AMmk2 transparent LED screens. Recognised as one of the world’s top music festivals, EDC is celebrated for its ability to immerse audiences in its dreamlike environment that fuses music, art and technology, with striking visuals being key to the festival’s creative concept.

Audiovisual production company Digital Aid (D8 Group) integrated the INFiLED setup into EDC’s stage design which included the iconic EDM Goddess structure. Due to the large quantity of screens, the project required precision in both installation and design integration. Digital Aid CEO Henry Hari Ram and his team worked closely with production designers to meet the festival’s ambitious creative demands.

The AMmk2 screens were chosen for features such as their 70% transparency which allowed dynamic lighting effects to shine through the

AUSTRALIA

display, while their lightweight design made handling and installation more efficient.

Taking place at Boat Avenue Lakefront in Phuket, the EDC festival site posed potential logistical challenges such as the uneven terrain which made transporting and setup more difficult. However, the team utilised a dedicated dolly (touring cart) system to transfer the LED cabinets to and from the venue, as well as leveraged the screen’s fast angle locks and lightweight design to streamline the setup process.

“In the AV industry, trust, expertise and responsibility are key,” remarked Susan Hoe, INFiLED regional director for Malaysia, Singapore and Thailand. “We are honoured to have earned the confidence of the D8 international team for such a large-scale event and are committed to providing full support to ensure success.”

www.d8projects.com www.infiled.com

DiGiCo advances Cantonese Opera

CHINA

DiGiCo has announced that it has played a part in the co-creation of two new theatres for the Guangzhou Cantonese Opera Theatre (GOH) in Yuexiu district, Guangzhou city. The building spans 40,000m2 and includes a 1,200-seat Grand Theatre, 500-seat theatre and three 60-seat cinemas, alongside the new Hung Sin-nui Theatre, complete with an SD5 console, as well as the smaller Red Bean Hall, which leverages a Quantum 338.

artist Hung Sin-nui who, in 2009, was awarded the first Chinese Opera Lifetime Achievement Award. The space now leverages the SD5 console in the control booth at the rear of the stalls, installed by DiGiCo’s Chinese distributor, Rightway Audio Consultants.

The Red Bean Hall is named as a reminder of the praise of Premier Zhou Enlai, who famously said that Cantonese

As one of the traditional Chinese opera genres, Cantonese opera has a rich history spanning more than 300 years and it is the most performed type of opera in Guangdong and the Cantonese-speaking region of Guangxi. The establishment of the two brand-new facilities aims to form a cultural centre for the world of Cantonese opera and ensure a solid base for its revitalisation.

The Hung Sin-nui Theatre was built in honour of the famous Cantonese opera

opera was the “Southern Red Bean”. The Quantum 338 has been implemented in the facility as its main mixing console, also situated in a booth at the back of the stalls. GOH said it believes that the installation of the Quantum 338 in the space will promote the development of performing arts in a more refined and systematic way.

www.digico.biz

www.racpro.net

transforms Sydney’s City Recital Hall

Sydney’s City Recital Hall has adopted d&b Soundscape 360° sound – diffused to audience members in all three seating tiers –enabling the venue to extend its programming model. The venue is highly regarded for its acoustics as well as its presenting partners, including the Australian Chamber Orchestra and the Sydney Symphony Orchestra.

After experiencing Bjork’s d&b Soundscape powered performance in New York, Stuart Rogers, director of programming, together with technical manager, Richard Fenton engaged d&b partner NAS to design a system to accommodate a full range of contemporary artists. This move aims to expand both the creative potential and business performance of the venue.

The project team, which included NAS specialist rigging provider HME and City Recital Hall’s own technical staff, has successfully managed the venue’s architectural constraints, rigging limitations and weight restrictions to deliver a custom-coloured, discreet system.

The SL-Series’ XSL models were chosen for their directivity control and international rider acceptance. The project team noted that at an operational level, the rejuvenated technology not only tames the venue’s long reverberation times in the lower frequencies but streamlines dayto-day functions. Integrated R1 software offers

the venue’s technical team an intuitive control interface, allowing engineers to adapt swiftly between shows and diverse performances.

“The Soundscape system is a game-changer because it supports creative intelligence, enabling artists to ‘play the room’,” explained Rogers. “The venue becomes a musical

instrument itself, with the audience being placed inside the artist’s musical vision. Soundscape enables us to present extremes of artistic breadth, from cutting-edge electronica to folk, rock and outer-national music, while enabling cathedral-like ethereal immersion. I’m excited that musical experiences at City Recital Hall are being changed from a system to relay music to one where artists can create unique content in a communal integration of art form and audience.” Rogers added that the team’s vision is to make City Recital Hall Sydney’s home of live music. “We have an amazing acoustic hall that is much admired in the classical world,” he concluded. “We chose d&b Soundscape so that we are seen as the best in the field for contemporary artists and to ensure our amplified shows achieve as much acclaim as our acoustic shows. The reception from artists and audiences has been incredibly positive.”

www.dbaudio.com

www.nas.solutions

The iconic EDM Goddess structure

Expo AV at home in D’Marquee

D’Marquee is Singapore’s latest venue attracting both domestic and international event organisers. Designed for concerts, exhibitions, sporting and corporate events, product launches and weddings, the newly opened 2,400m2 multipurpose hall seats up to 1,700 guests in a theatre-style arrangement.

Singaporean production company Expo AV is contracted as the official technical partner to supply the technical productions for the

treated venue. Rather than technically blind the D’Marquee selection committee during the tender phase, Expo AV presented an animated film of its works, as managing director Gerard Rodrigues explains. “By highlighting our track record with other vendors and venues, the committee appreciated our people-centric approach. We initially worked as a preferred partner for the Singapore Air Show, before being appointed as the official sound

renowned biennial event in 2010.”

Following the events of the pandemic, the timing of the contract award could not have been better according to Rodrigues. “The space has been primarily built for the east Singapore community surrounding D’Marquee. The pandemic highlighted the fact that the rental business model is vulnerable, so migrating from predominantly equipment hire to venue management provides Expo AV with

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regular commitments with forecasting made easier.”

Located almost adjacent to Changi Airport, D’Marquee is near to two bus stations, an MRT station, shopping mall, 40 F&B outlets and several hotels, including National Trade Union Congress (NTUC)’s own resort and hotel facilities built within Downtown East, D’Resorts. “Having researched the history of events staged at the previous venue located there, we were allowed to play a major role in the design of an all-in-one venue for conferences, festivals and concerts,” added Rodrigues. “We therefore worked closely with the architect during the initial design phase and as a result we have incorporated production elements including a 9m-high working ceiling, weight loads and audience capacities.”

Fully sound treated and equipped with 20 tons of rigging for lighting and sound, D’Marquee has supplied the venue with 112m2 of ZK Digimax LED displays in addition to 94 various wash, spot and beam fixtures for the lighting bars. A partnership between Expo AV and Proel Group’s Axiom loudspeakers in 2021 continues to blossom. Following the purchase of AX12C and AX6C column arrays and SW2100A subwoofers, the company expanded its inventory with 36 AX2010P line arrays and eight SW218XP subwoofers together with SW36XFP flyable subwoofers. As such, the audio system for D’Marquee comprises four L-R arrays incorporating six-per-side Proel Axiom cabinets with 12 subwoofers.

www.downtowneast.com.sg

ACT-848 / ACT-747

UHF Digital / Analog Wideband Wireless System

72 MHz wide bandwidth allows more interference-free operation. Industry’s only full-color VFD display for bright, clear viewing in day/night.

7 preset groups with 224 pre-saved channels. Optional Dante digital network interface. New transmitters can be powered by two AA alkaline or a Li-ion battery and conveniently recharged via type-C.

Singapore’s largest media conglomerate, Mediacorp, has integrated Lawo’s IP broadcast technology for its alternative broadcast centre (BBTC), reinforcing the company’s move towards IPbased infrastructure. Mediacorp operates a range of television channels, radio stations and digital platforms and is using BBTC as a testbed for full IP redundancy as part of the upgrade of its main campus at One North. The project was largely carried out by systems integrator BCI.

The Lawo solution features a redundant IP-based media network design which links four studios to the master control room (MCR). Two fully redundant Lawo Power Core units power the MCR, providing routing and DSP capabilities. Each Power Core is connected via fibre to AIOX (audio I/O extender) units, providing secure, high-capacity audio I/O across the network. The redundant media network has been implemented for continuous operations with automatic failover protection, eliminating downtime in mission-critical environments.

Each of the four studios is equipped with a 12-fader diamond broadcast console. Designed for scalability and ease of use, the modular diamond console leverages the DSP power of its Power Core unit, offering enhanced

audio routing and processing capabilities. The IP connectivity between the studios and the MCR provides Mediacorp’s operators with a networked workflow, aimed at enhancing efficiency and flexibility. For central control, the studios equipped with diamond consoles and Power Cores are connected to the power cores in the MCR via the Link Aggregation Control Protocol (LACP).

The manufacturer’s virtual radio studio control environment VisTool gives engineers visibility and control over the entire system from a single interface. Its design allows for real-time monitoring and management of the Power Core units, helping broadcasters control routing, DSP and other functions in complex multistudio environments.

The AIOX extenders reduce the footprint and power consumption of the installation. Each 1U AIOX unit provides up to 64 channels of audio I/O, offering a solution that can consolidate large amounts of I/O into a compact space.

BCI played a vital role in overseeing the implementation and configuration of the new system. The systems integrator has been instrumental in bringing advanced broadcast technology to the region and has a proven track record of successfully delivering complex broadcast projects.

Mediacorp said its decision to implement Lawo’s IP infrastructure at BBTC demonstrates the company’s commitment to staying at the forefront of broadcast technology. The fully redundant media

network offers operational reliability, while Lawo’s scalable, modular products prepare BBTC for future expansion.

BBTC’s diamond console

Quake Arena rumbles with Martin Audio

Dubbed as Asia’s largest nightlife destination, Hyderabad’s new Quake Arena leverages over 100 Martin Audio components to distribute sound across the three-level, 5,000m2 venue. The 5,000-capacity nightlife hotspot has played host to world-renowned artists such as Ben Böhmer and Afrojack and features an array of technology, including over 1,200m2 of LED displays, 1,000 lighting fixtures and a 12W laser show.

At the heart of the sonic solution is the Wavefront Precision (WPC) line array, with eight elements a side driven in two-box resolution from iKON DSP multichannel amplifiers. Artists can also rely on 20 SX218 subwoofers for the low frequencies and LE100 monitors for their reference sound.

“The installation has completely transformed our venue into a sonic powerhouse,” said Quake Arena director Raja Srikar. “Every beat and note resonates with unmatched clarity and impact, leaving our guests amazed. The team’s attention to detail and expertise made all the difference in creating this electrifying audio experience.”

His co-director Kunal Kukreja agreed, adding: “The clarity, depth and power of the audio is remarkable, creating an atmosphere that keeps our guests coming back for more. It’s an investment that has elevated our club to the next level.”

KV2 Audio has fun in Kupang

A celebration of Suara Kupang FM’s (SKFM) 9th anniversary, the 360° concert titled Gembira Bersama Kawan was carried by a KV2 Audio sound system. Taking place in Nusa Tenggara Timur, the event which translates to “Having Fun with Friends” was organised by Andry Elita Raga of SKFM.

The concert was hosted at GOR Flobamora, a basketball and futsal court with circular seating. Drawing inspiration from the venue’s layout, Raga envisioned a stage positioned at the centre of the court, offering a 360° view for the audience. This design posed a significant technical challenge –how to deliver clear, immersive sound to an audience seated in every direction. To combat this issue, Raga sought the expertise of Dennys Linardo from Hardrock Rental. “We

knew this was a job for KV2 Audio,” noted Linardo. “Their compact yet powerful systems were the perfect solution.”

It was imperative that the audio system be compact enough to fit within the limited space above the drummer in the centre of the stage, share room with LED screens and provide 360° sound coverage. Furthermore, it needed to deliver vertical sound projection capable of reaching from the courtside to the top rows of raked seating, all while maintaining optimum gain-before-feedback for performers onstage.

The team deployed a set of VHD2.0 and VHD1.0 down fill systems for each of the four quadrants of the stage, arranged in alternating left and right channels. Eight VHD4.18 subwoofers were placed under the stage, while four VHD2000 were used

The upper mezzanine level and VIP lounges leverage CDD12B and CDD10B coaxial differential dispersion loudspeakers, while dedicated DX4.0 processors serve as a backbone of the system.

Sound consultant Abhimanyu Chopra from Chopra Designs served as the guiding hand behind the audio solution. “Designing the audio experience for Quake Arena was both an exciting challenge and a rewarding achievement,” he said. “With its immense scale and high-energy requirements, the goal was to create a system that delivers precision, clarity and impact across all three levels. The Martin Audio system ensures seamless coverage and deep, resonant bass that truly immerses the audience.”

All the equipment was supplied by Indian distributor, VMT with pre-design and sales engineer, Sai Prem, noting: “The installation at Quake Arena reflects the perfect synergy of advanced technology and strategic design. Every component has been carefully tailored to ensure precise sound delivery, powerful bass and uniform coverage.”

www.martin-audio.com

www.vmt.in

for system control and amplification alongside four VHD3200 to power the subwoofers.

Linardo said the VHD2.0 system “sounds fantastic. We only needed two adjustments: managing low-mid frequencies and adding

delay to the subwoofers. The tuning was so straightforward that it was completed directly on the mixing console.”

www.kv2audio.com

Japanese studio leverages Brompton and Sony

Kadokawa Daiei Studio’s virtual production (VP) studio No.C Stage features Brompton Technology processors and distribution units to power Sony Crystal LED Verona videowalls. The Japan-based studio, part of the Kadokawa Group, has made the investments to elevate No.C Stage’s capabilities in in-camera visual effects (VFX), enabling the creation of immersive virtual environments for films, commercials and other creative projects. The studio spans an area of 550m2 and is equipped with a power supply of 180kW, supporting both 100V and 200V configurations. The installation of the Crystal LED Verona videowall, measuring 15m x 5m (WxH) and driven by 4K Tessera SX40 processors and Tessera XD 10G data distribution units, aims to eliminate the need for green screens. The display features an electric winch system allowing adjustable vertical movement for

enhanced flexibility in content production. This adaptability is further supported by the studio’s creative art department, which integrates realworld set designs with virtual assets to create cohesive artistic environments. 6000

system, delivering video playback across diverse production needs.

“With our 6K-resolution Sony panels paired with Tessera SX40 LED processors, we are able to offer unparalleled colour calibration, precise frame store capabilities and fast adjustments via custom presets on a StreamDeck controller,” said Billy Rameau, technical director, Kadokawa Daiei Studio.

Elijah Ebo, director of APAC operations, Brompton, added: “It’s truly inspiring to witness the seamless integration of our LED processing technology with the studio’s Sony Crystal LED Verona panels, all expertly orchestrated by Kadokawa’s team to create one of the most advanced virtual production setups available today.”

www.bromptontech.com www.pro.sony

Ada graphics cards for real-time rendering and simulations, plus the Sony PCL ZOET 4

INDONESIA

Evening Moon upgrades to Dolby Atmos

Producer, songwriter and mixing engineer PinPin has recently upgraded his Evening Moon Studio in Bangkok to Dolby Atmos, installing an ORIA immersive audio interface and monitor controller by Audient as his main audio interface. With a 7.1.4 system of 12 Focal monitors, an Avantone Mixcube as a separate reference monitor and Logic Pro via macOS as the DAW, PinPin’s setup also includes a selection of EQs and compressors feeding into the Audient ORIA, which facilitates the switch between 7.1.4 and stereo.

As a private studio, PinPin focuses on recording vocals and occasionally small instruments in the

vocal booth. He also offers mixing, mastering and arranging services and uses ORIA to check audio balance between music and vocals.

“ORIA is essential for me, especially for portable device playback,” he said. “I no longer need to readjust mixes multiple times, which saves time and ensures accuracy. The studio’s visual and material quality has also been improved with premium fabrics and a professional feel, elevating the overall ambience and sound accuracy.”

www.audient.com

JAA Systems delivers for SPOTV

JAA Systems recently delivered a high-tech

martial arts, covering major events like Wimbledon and MotoGP.

JAA Systems designed and integrated a comprehensive broadcast system featuring an Imagine Communications ingest, playout, MAM and glue system, plus SNS and GB Labs for shared NLE and nearline storages. The setup also incorporates the latest BLT Italia as multichannel baseband to file acquisition appliance for continuous off-air recording and Calrec systems which have been integrated as an AoIP audio mixing, shuffling, embedding and de-embedding platform. A LaON Technology intercom solution has been implemented for communication between production teams and control room staff. Other systems installed included Wohler monitoring equipment, Leader Electronics’ SPGs and changeover systems, Sonifex and Artel systems as PTP IP ecosystem components,

dedication,” commented David Chan, CEO, JAA Systems. “We focused on ensuring every aspect of the system – from studio acoustics to the intricate workflows of playout and media management – was integrated seamlessly.”

Prakash Maniam, head of broadcast operation, SPOTV Media Malaysia, said: “The high-quality facilities and advanced technology provided by JAA Systems will elevate our production capabilities and allow us to deliver premium sports content to our viewers across Southeast Asia. The rapid turnaround and professionalism shown by the JAA Systems team were truly commendable.”

Lee Choong Khay, CEO, SPOTV Media, added: “This milestone would not have been possible without the outstanding expertise and dedication of JAA Systems. This state-of-the-art hub represents a significant step forward in enhancing our production capabilities, enabling us to bring

MALAYSIA

L–R: JAA Systems’ David Chan, Prakash Maniam of SPOTV Media and Kaartig and Wee of JAA Systems

Powersoft brews sound in Japan

JAPAN

Powersoft Mezzo and Dynamic Music Distribution (DMD) amplifiers are at the heart of Yebisu Brewery Tokyo’s new sound system, delivering three zones of audio. The once quiet museum has transformed into a vibrant audio experience with beer tastings in the taproom, exhibitions and a shop for visitors.

“We wanted to create a vibrant atmosphere that would change the Yebisu beer’s previous reputation,” explained Takako Okii, marketing division deputy manager, Sapporo Breweries. “We also needed to get rid of the echo issues and we believe that high-quality sound was crucial in delivering an exciting and memorable experience.”

Mood Media Japan undertook the audio overhaul, installing the system in three zones, with each area playing a different sound. Yamato Shibasaki, music designer from Mood Media Japan, said the team designed it in a way that minimises the sound from overlapping.

When visitors enter the brewery, they are welcomed by the Yebisu beer theme song played from two different sources to draw attention to the centre of the facility. Shibasaki noted that using two different music sources highlights the many ways a single piece of music can be experienced. Soft background music in the museum area allows visitors to focus on the exhibition, while the taproom features livelier music, creating a transition between the brewery’s history and its future.

The brewery’s open layout posed acoustic challenges, particularly with high ceilings and minimal partitions.

To overcome this, Mood Media Japan adjusted speaker positions and utilised the DSP capabilities of a Mezzo amplifier to fine-tune sound quality. “We lowered the speaker position, adjusted the direction and used the DSP on Mezzo to regulate the EQ,” noted Shibasaki. The built-in delay function on Mezzo further synchronised audio across the entrance and the museum, reducing any perception of sound lag between the zones.

Haruka Murayama, Powersoft’s market development manager for Japan, said Mezzo was the ideal choice for the brewery’s needs because it is “designed for environments that require both flexibility and reliability in a compact form”.

According to Shibasaki, DMD allowed him to conveniently design the sound system, as he was able to define the core equipment early in the process, simplifying budgeting and future adjustments.

For ease of operation, Mood Media Japan integrated the Italian manufacturer’s WMTouch control panel. “Our employees quickly understood how to use the system,” noted Okii. “The Scene recall functionality makes

the adjustments seamless, ensuring anyone can manage the audio with ease.”

The compact design of Mezzo amplifiers also addressed practical controls, as Shibasaki explains:

“The rack room is small with limited airflow and Mezzo’s compact size, multichannel capabilities and low heat emission made it the perfect solution.”

“We’re extremely satisfied with the audio quality and have no concerns about the reverberation,” concluded Okii. “Sound is now an integral part of our visitor experience and it’s something the visitors will remember long after they leave, connecting them emotionally to Yebisu beer.”

www.powersoft.com

China’s Golden Summit beams under Christie projectors

The Golden Summit at Mount Laojun has been transformed with a projection mapping display leveraging Christie Crimson 3DLP laser projectors. Located in Luanchuan County, Henan Province, the 2,184m-high mountain serves as a renowned Taoist sanctuary, attracting countless visitors and pilgrims each year.

Spearheaded by Beijing Zhongqing Display Technology, which oversaw project planning and construction, the project aimed to offer visitors an immersive journey into the millenniaold charm of Taoist culture. Furthermore, it aimed to foster the region’s economic growth

The Chinese company also collaborated with Goldon Digital Creative to present a music and dance show titled Knowing Mount Laojun, staged at the Golden Summit complex. This live performance utilised 12 Christie DWU1082-GS laser projectors to deliver visual effects, further immersing the audience in the cultural and artistic spectacle.

Jia remarked on the project: “From conception to execution, the projection mapping atop the Golden Summit of Mount Laojun has been hailed as a triumph by various stakeholders, with seamless coordination between lighting, sound and projection systems delivering an

Kikuyo library turns to Adamson

Located in Kumamoto Prefecture, the Kikuyo Town Library Hall recently upgraded to an Adamson audio solution for use during lectures, community events and traditional Japanese performing arts such as Rakugo and puppet shows. The system was installed by the manufacturer’s Japanese distributor Rewire, as part of an audio renovation to replace the hall’s ageing system.

Six Crimson WU32 laser projectors were leveraged for the projection mapping show, chosen for their 32,000-lumen output to present vivid and clear visuals even in challenging conditions. “With their rugged yet compact design and exceptional image fidelity, these projectors deliver vibrant, accurate colours, bringing the Golden Summit’s architectural details, swirling mountain mists, Taoist symbols and dynamic light and shadow transitions to life in stunning detail,” commented Yangshun Jia, project manager, Beijing Zhongqing.

The projection mapping posed various challenges due to Mount Laojun’s mountainous environment, including harsh weather conditions and uneven terrain. The team from Beijing Zhongqing overcame these obstacles through solutions such as custom-designed enclosures used to shield the projectors from extreme temperatures, humidity and other environmental factors.

April Qin, senior sales director for China, Enterprise, Christie, added: “We’re proud to see Christie technology bringing stories to life at Mount Laojun, known as the retreat of Laozi, founder of Taoism. The Crimson WU32 projectors’ ability to combine technical excellence with cultural storytelling exemplifies our commitment to enabling creative and immersive experiences to audiences across China.”

www.christiedigital.com

“The previous system only consisted of a few point source speakers, which caused significant volume differences across the audience area. In some seats, the sound was difficult to hear,” explained Ryoichi Ishii of Rewire. “Instead of simply replacing the ageing speakers, we used Blueprint AV simulation results to achieve a uniform sound distribution across the audience

The library hall’s seating is movable and when fully retracted, the audience floor becomes completely flat – which Ishii noted posed potential acoustic issues. “Since the speaker array cannot be easily re-positioned, we optimised the design for the standard seating configuration while also simulating conditions to ensure no discomfort when the floor is flat,” he said.

At the heart of the new system is Adamson’s IS-Series, with six IS7 units deployed as centre columns, complemented by an L-R configuration of two IS118 speakers and a further six IS7 units per side. Four PC5 speakers were installed at the front of the stage, with four S7P units added at the side of the stage. The speakers are driven by five PLM12K44 and three 5K44 amplifiers.

“We chose the Adamson IS-Series because of its compact size and powerful sound,” noted Ishii. “Additionally, its sleek design allowed the speakers to blend into the hall’s interior seamlessly, providing optimal acoustics without being visually obtrusive. This library hall is the first in Kumamoto Prefecture to feature a configuration where the main speakers are exposed, providing visitors with a powerful audio experience.”

The hall also leverages a Yamaha DM7 console and the entire audio setup is connected via Dante. The network uses a Q-SYS Core 110f processor to control the mixer, amplifiers, a lighting console and emergency equipment.

www.adamson.ai

www.rewire.co.jp

GCAF chooses Ikegami for esports arena

The Gyeongnam Culture and Arts Foundation (GCAF) has selected Ikegami UHK-X700 camera systems for use in the Gyeongnam eSports Arena. Four systems have been supplied to support the broadcast of esports competitions for terrestrial and satellite audiences across South Korea. The acquisition was facilitated through Ikegami’s Korean distributor, Dong Hwa AV.

Founded in 2013, Gyeongsangnam-do-based GCAF promotes regional culture and arts through event organisation and educational programmes. Following thorough evaluations, the foundation selected the Ikegami UHK-X700 for its ability to produce high-quality, low-noise images in the low-light conditions typical of esports production environments.

The cameras enable GCAF to create 4K-UHD content with consistent colour accuracy, aligning with its production standards. In Korea, Ikegami products are employed by major terrestrial and satellite broadcasters and their reliability was a

key factor in GCAF’s investment. The system also supports secure operation up to 3,000m from the base station, with optional wireless capabilities. Ikegami and Dong Hwa AV will continue to provide support to GCAF, drawing on the distributor’s decades of experience as a provider of broadcast systems in Korea.

www.ikegami.com

CHINA

JAPAN

SOUTH KOREA

Images courtesy of Beijing Zhongqing Display Technology

THE SLEEK AND ELEGANT LINES DEFINE THE DESIGN OF THE NEW VERTUS MODELS

FBT unveils two new VERTUS CLA point source models built in aluminium extrusion. The CLA 204T and the IP55 certified weather resistant CLA 203T that includes water resistant enclosure, water resistant treated loudspeakers, a grille with hydrophobic fabric and hermetic terminal box. These models are also EN 54-24 certified for emergency and evacuation systems, with a ceramic terminal block and thermal fuse ensuring protection for the line connection in case of fire. A range of accessories is available to enhance the product’s functionality.

CLA 203T

CLA 204T

Panther leaps into action at IBW

Attracting thousands of motorbike enthusiasts from around the world, India Bike Week (IBW) was enhanced with a comprehensive sound reinforcement system provided by PP Sound Light Productions. With the theme “The Next Chapter”, the Goa event featured renowned riders, various events and live performances from local and international artists. Prasad Parkar, founder and director, PP Sound Light Productions, said the goal was to craft an audio environment to match the high energy of the festival while providing a consistent and immersive experience for every attendee. “We wanted everyone to feel the pulse of the festival in every note and every beat, no matter where they stood,” he noted. The heart of the festival’s music performances, the Main Stage was equipped with a Meyer Sound Panther line array system, coupled with a DiGiCo Quantum 338 console. Sixteen Panther units were arranged in a stereo configuration with eight modules adorning either side of the performance stage. In addition, further units were used for front fill reinforcement, ensuring that even those located at the front of the stage enjoyed the sonic experience.

For low-end response, the team integrated 16 ground-stacked 2100-LFC subwoofers into the main PA system which was managed using the Galileo processor.

V-Series line array modules arranged in a stereo configuration, with six units flown on each side of the stage and additional modules deployed as centre fill reinforcement. Rounding off the system were eight ground-stacked B22 subwoofers for resonant low-frequency fidelity. A DiGiCo Quantum 338 was leveraged for mixing. “The V-Series system was perfect for this stage because of its compactness and its ability to maintain high clarity and power despite the smaller scale,” added Parkar.

“The Panther system is designed to deliver optimal sound pressure levels with remarkable throw and coverage,” noted Parkar. “It’s a system that thrives in large-scale outdoor environments and it ensured that every attendee, no matter where they were, felt part of the music.”

The Howling Dog Stage offered a more intimate atmosphere for spectators. The main PA system comprised 12 d&b Audiotechnik

d&b’s Max 2 stage monitors were provided for artists, in addition to Shure’s Axient Digital and Sennheiser’s 6000 Digital microphone systems, complemented by IEM 2000 in-ear monitoring systems.

The company also deployed audio reinforcement systems from d&b, RCF and JBL Professional for the festival’s other activity zones, catering to each area’s unique requirements, from background music to live commentary.

www.dbaudio.com www.digico.biz

www.meyersound.com

TW Audio powers China’s Spring Festival Gala

CHINA

The CCTV 2025 Spring Festival Gala in China took place across four branch venues in Chongqing, Hubei, Tibet and Jiangsu, linking to the main venue in Beijing. For the Chongqing event, a TW Audio system was deployed by the German manufacturer’s local distributor Jusheng Audiovisual.

The system was chosen to fulfil the directorial team’s vision of high-quality and high-fidelity sound, with a total of eight groups of Vera20 line array speakers deployed complemented by Vera S32 cardioid subwoofers used to cover different

“The sound design of the Gala aimed to not only provide comprehensive sound coverage and clarity, but also to present a different layer and punch of the high and low frequencies,” said Stanley Yau, general manager of Jusheng Audiovisual. “The TW Audio Vera20 sound system ensures high sound quality through precise sound control and efficient low-frequency output, whether for the performance of traditional Chinese instruments or modern electronic sound effects. The compact size of the Vera20 is also a perfect match for live broadcasting.”

Daktronics goes big for Giants Town Stadium

Set to open in March 2025, the new Giants Town Stadium in Yanokuchi, Inagi City, incorporates a Daktronics video display, show control system and custom control solution. It will serve as the core facility of Tokyo Giants Town, which is currently under development and located adjacent to the Yomiuri Land Amusement Park, the Yomiuri Shimbun Tokyo head office, the Yomiuri Giants baseball team and Yomiuri Land.

The full video display measures 6.7m x 18m (HxW) and features 10mm pixel spacing to deliver image clarity and contrast to fans throughout the stadium. It is capable of variable content zoning allowing it to show all the game-day information expected at live events. In addition, the project also includes the installation of two auxiliary cables, one measuring 1.28m x 2.24m (HxW), with the other measuring 1.92m x 2.24m (HxW). These will show supplemental game information to support the main display and expand the visual experience for fans at the stadium. The Daktronics show control system and a custom control solution will power the displays for game-day presentations.

The Giants Town Stadium is a three-storey artificial turf stadium with a middle field of 122m and two wings of 100m, the same distance as the Tokyo Dome, with a sub-field. There will be approximately 2,900 seats, including “excite seats” that extend out onto the ground on the first- and third-base sides on the first floor, plus natural grass seats in the outfield.

On the second and third floors, the stands will have four rows of seats to bring the spectators closer to the field. Similarly to the Tamagawa Ground in Ota Ward, Tokyo, which was the Giants’ exclusive stadium from 1955–1998, the aim is to create a place where fans and players can interact easily.

www.daktronics.com

Radio 2AP puts its faith in AEQ

Samoa’s national radio station, Radio 2AP, broadcasts on AM to cover the two islands of Upolu, where the capital city Apia is located, and Suvaii, which together make up Samoa. It also broadcasts on FM with several new

The Capitol IP 12 is a digital audio mixing console with a 12-fader control surface. The implementation of IP connectivity is based on a single module of 16 input and 16 output channels, incorporated in its core. It has proven popular in

AEQ’s Capitol IP at Radio 2AP

transmitters around the nation, as well as online on ZenoFM. Its programming is mainly public service, with large news slots and local content, along with large music or sports segments.

Radio 2AP recently entrusted AEQ’s local partner Miseopoint with the renovation of its main broadcasting studio, with Miseopoint specifying a compact AEQ Capitol IP console to manage all the signals sent to the programme as well as contributions to the country’s national television station TV9.

remote studios around the globe, as it offers digital technology with IP functions, supporting the latest features demanded by the market, but with a simple and robust operation.

The success of this new radio studio confirms Miseopoint’s commitment to AEQ technology in these remote territories, being the third successful collaboration of the two companies after Eclair FM in Guadeloupe and SBC in the Solomon Islands.

www.aeq.eu

SAMOA

IPAL COMPATIBLE 18” AND 21” SUBWOOFERS

SAN184.50iP and SAN216.00iP are uniquely specified high motor strength neodymium subwoofers featuring extreme cone displacement, constant control over voice coil excursion and low distortion. When partnered with the Powersoft IpalMod hardware/software amplifier platform, matching the system output to the input signal for the highest possible SPL capability and lowest distortion comes as standard.

SAN184.50iP SAN216.00iP

Impedance 1- or 2-ohm 1-ohm

Program Power 3400 W 5000 W

CCA Voice Coil 115 mm (4.5 in.) 152 mm (6 in.)

Sensitivity 98 dB 99 dB

Freq. Range 30 - 1000 Hz 35 - 1000 Hz

Xmax 19.25 mm 20.8 mm

Peak To Peak 54 mm (2.1 in.) 64.6 mm (2.5 in.)

Demod. Ring Yes Yes

FOR TRANSDUCERS: FROM CONCEPT TO DELIVERY

The Voice Thailand sings the praises of grandMA

THAILAND

For The Voice Thailand 2024, lighting designer Ryan Attig turned to a grandMA lighting control system to support an array of lighting scenes during the show’s various performances. Produced by Exit 365 and co-produced by Lighting and Equipment, the singing competition is characterised by multiple rounds and performances, with the highest production standards throughout.

“The Voice requires the designing of many lighting scenes to support the sheer number of shows and performances involved, but it all has to be done within the limitations of the venue size and the available programming time,” explained Attig. “Fortunately, grandMA3 saves us a lot of time. We always use MA systems, onPC to fullsize, grandMA2 to grandMA3 – depending on the nature of the job and the supplier.”

The show’s lighting and video equipment was supplied by Lighting & Equipment, with support for the grandMA3 system from MA Lighting’s representative in Thailand, Total Solution Marketing (TSM).

Chantiga Chotkajornthai looked after the lighting team for TSM. “Originally, the lighting team asked for the grandMA3 control system to run in mode2,

“But

Riedel enhances comms in Daegu

The Daegu Concert House has upgraded its communications systems with Riedel’s intercom technology, installed by South Korean distributor Dasan SR. The manufacturer’s all-IP Artist-1024 matrix and Bolero wireless intercom systems have been

“The Riedel intercom solution has transformed our communication capabilities,” said Mi Chu Cho, director sound/stage, arts department at Daegu Concert House. “As an all-IP system, Riedel’s Artist-1024 is easy to configure and troubleshoot in real time and it also provides superior audio quality and reliability. By eliminating coverage and performance issues, this upgrade to Artist and Bolero systems allows us to focus on delivering world-class performances rather than on our communications technology.”

The comprehensive installation includes the Artist-1024 matrix, which features support for up

to 1,024 ports. Complementing this are two RSP-2318 and four DSP-2312 SmartPanels, which provide intuitive user interfaces via high-resolution, multitouch colour displays. The Bolero wireless intercom system, complete with eight antennas and 10 beltpacks, provides communication and voice transmission throughout the venue.

Dasan SR also created multiple virtual Bolero presets for each beltpack in the venue’s Grand Hall and Chamber Hall. With the Bolero network divided into different 2G4 hopping modes, users can connect to the appropriate antenna in each hall. The Bolero beltpack automatically links to the designated ports for that specific hall. This configuration allows for flexible use of the beltpacks without the need for manual reconfiguration.

“With the ability to create virtual profiles and deliver unparalleled RF robustness, we have resolved longstanding communication challenges for the venue,” said David JooYoung Jeon, project manager, Dasan SR. “We’re proud to have facilitated this transformation, which not only enhances the Daegu Concert House’s operations but also sets a new benchmark for intercom solutions in Korean theatres.”

Vincent Lambert, director of key accounts, Asia, at Riedel Communications, commented: “This installation showcases the capabilities of the Artist and Bolero systems while also demonstrating our commitment to providing tailored solutions that meet the unique needs of performing arts venues. As a first-of-its-kind installation in South Korea, this project surely will have a significant impact on the country’s broader performing arts culture.”

www.riedel.net

so they decided to convert to grandMA3.”

Ensuring a smooth transition, Chotkajornthai provided onsite support for Attig and the lighting crew for the initial programming and for the Blind Audition round which commences the series.

Attig explained that, for a show of this type, flexibility and consistency are major requirements. “grandMA3 provides us with access to more parameters,” he said. “So it allows us to control more pixels and fixtures and it also make this control easier and faster.”

In terms of the console’s features, Attig said: “The functions available on grandMA3 help us to programme all the multiple lighting scenes more quickly and reliably, which is extremely important to us. grandMA3’s Phasers help us to create more complicated effects, more efficiently, while the NDI function helps us control pixel fixtures more easily. Some functions, like the Phaser, offer many powerful options, so it takes a while to fully understand its possibilities, but in the end what it gives us is very valuable.”

www.malighting.com

FBT install goes swimmingly

Chengdu Polar Ocean Park has upgraded its audio with a sound system from FBT, provided by the Italian manufacturer’s Chinese distributor, Jusheng Audiovisual. The solution has been deployed for the park’s Whale and Dolphin Pavilion with the aim of providing accurate sonic coverage and high-quality sound that creates an immersive experience for visitors.

The pavilion’s main L-R sound system comprises 10 FBT Shadow 142 waterproof line array speakers, with two SUBLine 218S subwoofers to extend the low-frequency performance and wide sound field coverage. Complementing this system are four Shadow 112HC waterproof speakers, enhancing audio coverage for the pavilion.

the Whale and Dolphin Pavilion requires the sound system to have excellent waterproof performance,” explained Zhang, technical director for the project. “The sound reproduction must be natural and clear to fit the atmosphere of the whale and dolphin performance and enhance the audience’s immersive experience.”

waterproof design, the FBT Shadow series has become the first choice for many special venues. The success of this project shows the reliability and high performance of FBT products in extreme environments,” concluded Zhang.

www.fbt.it

www.jsavtech.cn

which they were familiar with,” she noted.

we offered them grandMA3 training and they very quickly saw more possibilities with the software,

SOUTH KOREA

CHINA

The new cardioid way. Next level. Scaled down.

Single-channel broadband directivity for all. CCL is a compact cardioid line array. A big idea, right sized for the most accessible range of applications and audiences.

Experience more:

More art. Less noise.

Ideal Systems for Palm Springs Hotel Dili

TIMOR-LESTE

The first international five-star hotel in the area, the Palm Springs Hotel Dili has enhanced its audiovisual capabilities with a fully networked solution, provided by Singapore-based systems integrator Ideal Systems. The hotel, located in Dili’s business district, features 150 rooms and 949m 2 of flexible event space, serving as a top venue for conferences, weddings, executive board meetings and social events.

Prior to installation, the Ideal Systems team developed main schematics, floor layouts and cabling to ensure all AV systems integrated with the hotel’s architecture and purpose. The main AV system included background music systems, audio for the roof function rooms, video and control systems for the meeting rooms, an interpreter system and portable equipment for events.

As the Palm Springs Hotel Dili is situated near to several embassies and businesses, a highlight of the project is the dedicated interpreter room, which enables high-profile diplomatic meetings to be conducted in TimorLeste’s official languages – Tetun and Portuguese. This facility features a

Bosch Integrus Interpretation System, allowing attendees to listen to real-time translations for effective communication among diverse participants.

For audio, Ideal Systems installed Sonance Garden Landscape Speakers for the outside areas, a Q-SYS digital signal processor, Dante audio interface and Powersoft amplifiers. The company also provided an Extron XTP CrossPoint XTP matrix switcher for video distribution, Extron IPCP Pro control system, AMX AV-over-IP encoder/ decoder and Panasonic projectors.

Ideal Systems noted that, as Timor-Leste has varying internet connectivity and power supply stability, the team had to ensure that all AV technologies could adapt to the local environment. To facilitate a successful deployment, pre-programming was carried out at the systems integrator’s Singapore office, helping the team to minimise potential issues and streamline the onsite installation process. According to the team, following installation, the hotel is more flexible to host high-profile events and meetings, particularly with the portable system.

www.idealsys.com

Blackmagic enhances Tokyo virtual event space

GMO Global Studio, a hybrid event space in Tokyo, leverages Blackmagic cameras, routers, switchers and more. Situated in Setagaya City, the space comprises three studios that can be used differently depending on the purpose and need, including for streaming.

Part of the GMO Internet Group, the event space’s main studio, World Studio, is equipped with an LED display measuring approximately 500 inches and can also handle virtual production using XR technology.

According to Kurataro Sano, one of the company’s directors, the Blackmagic solutions were the best match for the project. “The URSA Broadcast G2 can handle cinema, broadcast and streaming and its cost performance is quite good. The ATEM switcher is compact compared to other switchers by different manufacturers. Considering that we may eventually hold events outside this studio, we chose Blackmagic Design products that have an advantage with their portability.”

Following the pandemic, the group switched all internal events to online streaming. The studio is currently used for events within the GMO Internet Group, conferences for external parties and shareholders’ meetings.

The space leverages three URSA Broadcast G2 and adjusts each camera using an ATEM Camera Control Panel. All video and other signals are aggregated into a Videohub 40x40 12G, from where they are sent to an ATEM Constellation 8K and switched using the ATEM Advanced Panel 20. A Blackmagic Web Presenter 4K is used for streaming and a Videohub Master Control Pro router control panel is used for routing switching.

The studio utilises HyperDeck Studio 4K Pro for video playback and recording. The video projected on the LED screen sometimes comes directly from the Disguise media server or is output through the switcher from the HyperDeck Studio 4K Pro. Sano noted that since the studio does XR composition, the team has attached RedSpy camera tracking system sensors to the URSA Broadcast G2 cameras. “The compatibility with the sensor is excellent,” added Sano. “Connecting various manufacturers’ products as new equipment comes out is an advantage.”

www.blackmagicdesign.com

JAPAN

Coda Audio revs up sound for Ferrari

Showcasing the world of luxury car brand Ferrari, Universo Ferrari recently took place in Bangkok at UOB Live, Emsphere, backed by a Coda Audio sound system. The immersive exhibition showcased over 20 car models and offered attendees an up-close experience of limited editions, legendary classics and the latest F80 supercar.

urged Ferrari HQ to choose a Coda Audio system. Modern Solutions Plus designed systems for the event and supplemented Perfect Duck’s Coda inventory to ensure every zone was fully covered. In the four days leading up to the event, the systems were installed in the venue. The objective was to provide

The event was divided into several zones featuring different elements of the brand’s story. Coda Audio’s distributor in the region, audio rental and installation specialist Modern Solutions Plus, supported its client Perfect Duck, which

comprising eight ViRAY line array units and four SC2-F subwoofers, driven by LINUS14 amplifiers.

powerful BGM, as well as live and recorded speech presentation and sound effects. Loudspeakers from across the manufacturer’s ranges were chosen to suit the specific requirements of each zone and were drawn from D-5 Cube, HOPS (5, 7, 8

“Each zone had its own story and had different audio requirements,” explained Suttipun Youngnek of Modern Solutions Plus. “We deployed selected loudspeakers from the Coda range to match the requirements of the different zones. The response from visitors on the audio has been excellent. Everyone was excited by the clarity of the speech, background music and sound effects – the Ferrari media team were very happy to add Coda

Robe illuminates Hikaru Utada

Jason Ardizzone-West, creative director/production designer of JAW Studio, collaborated with creative studio Fragment Nine (F9) led by Jeremy Lechterman on the lighting elements for J-pop star Hikaru Utada’s 2024 tour. Taking place across Japan and Asia, the tour supported the singer/songwriter’s new album project, Science Fiction

Large quantities of Robe fixtures were integrated into the design, including 81 ESPRITE, 72 MegaPointe, 26 TetraX and three Robe BMFL Wash Beam EV running on a 3-way RoboSpot system, all supplied in Japan by lighting vendor Kyoritz.

The team’s goal was to imagine “a mysterious landscape that is initially a

sleeping machine – a portal to another level of consciousness which is slowly awakened by the energy of the audience activated by Utada’s music,” noted Ardizzone-West.

Both Ardizzone-West and Lechterman worked closely with video designer Jackson Gallagher of F9, forging mixed-media treatments that worked harmoniously together. The set design included nine large monolithic sculptures, built with ROE Vanish 8S LED video tiles and internally lit and juxtaposed with three luminous plinths on which the musicians were positioned.

A major challenge for lighting was capturing and integrating the scale of the over 30m-wide landscape design. Furthermore, 75% of the lighting fixtures needed to be floor-based to ensure the integrity and impact of the scenography.

The ESPRITE and MegaPointe constituted all the spot and beam fixtures on the plot.

The ESPRITE fixtures were deployed in two long lines, one below the stage at the back, similar to a horizon, with another row above the main upstage videowall, with the balance deployed on the overhead rig. They

prestigious Ferrari exhibition. Modern Solutions Plus and their customers are doing excellent work in Thailand in both the rental and installation sectors, with Coda systems increasingly conspicuous at large events. A number of recent Coda installations have also caught the eye, notably those at the brand-new Shelby Bar in Thonglor, Bangkok and Marin Social Nightclub in Korat, where high-quality live music is central to the venues’ busy programmes.”

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assisted in creating shadows against the monolith video sculptures and helped push and radiate the energy and movement of the video content.

“The nature and precision of the scenography required the artists to be lit very specifically, to enhance the spatiality of Jason’s original concept,” said Lechterman, adding that the ESPRITE’s zoom, the brightness through the full zoom range and the beam field were characteristics needed to light in this style.

As there was no front lighting on the show apart from in the B-stage area, the BMFL EV luminaires on the RoboSpots were used in rear and two high side positions for key lighting and low lighting. Lechterman noted the fixtures “worked flawlessly” every night.

“The goal of lighting was to always try to enhance but not overpower,” concluded Lechterman. “We had this gorgeous landscape and content for this show, so for light to be reinforcing those choices was a decision we made collectively.”

www.robe.cz

Out of the shadows

Richard Lawn visits Jakarta’s Teater Kecil, a small entertainment venue promising big things following an immersive upgrade

LIVING IN THE SHADOW OF THE GRAHA BHAKTI

Budaya theatre in Jakarta’s Taman Ismail Marzuki (TIM) complex, the Teater Kecil may be small, but it’s perfectly formed. Having staged cultural arts activities since 2008, the 240-seat venue has a varied programme ranging from experimental performances by young artists to established acts drawn to its intimate surroundings. An audio upgrade designed by Solo-based Acoustic Sound Image Integrated Solution (ASIIS) has created a unique setting for its spellbound audiences.

Activist and artist Sentanu was requested by the local government to act as an advisor on the project. Following a tender bid, Sentanu had no hesitation in recommending ASIIS to design, supply and install the audio system for the theatre’s ongoing requirements. “The concept started in 2015, and we consulted with the main users including the artists, the engineers and the audience,” he says. “Prior to the upgrade we relied on a stereo line array setup, which amplified the audio but did not benefit the audience. The script is the holy grail and, once you’re happy with the script, you need to be able to put the sound anywhere in real time.”

The resulting compact audio system is deceptively powerful. ASIIS recommended a Holophonix Ultra spatialisation processor be placed at the heart of an immersive setup, with a scaled licence of 128 inputs and 32 outputs and a touchscreen for monitoring and configuration. “Front of house does not exist anymore,” asserts Sentanu. “The X-Y-Z coordinates of 3D audio has no rules, so you can take the audio not only from left to right, but also up and down. The Holophonix solution distributes the sound to a point in the theatre wherever the ‘X’ is placed, such as birdsong or a plane flying overhead. The technician can put any audio output anywhere.”

Microphones placed in a stage frame feed into the reverberation system as well as providing acoustic reinforcement. Six sE Electronics SE7 small-diaphragm condenser microphones are suspended above the stage, together with up to 20 wired V7 dynamic mics focused on the front centre of the stage, or into the distance. The microphones are processed through the Holophonix system as virtual sources, and their positioning is determined to preserve the natural location. Some microphones, including those suspended at the top of the stage cage, are used to generate early side reflections. The resultant signals are then transmitted from the mixing console on direct outputs.

The Dante-based Holophonix AoIP protocol is integrated with a Dante-enabled Waves eMotion LV1 64-channel digital console. Receiving microphone inputs from dual DS Pro 4000 32-in/16-out and single DSPro 1000 8-in/4-out stageboxes, live sound scenarios are quickly configured from the interfaces of two 21.5-inch multi-touchscreens loaded with smart software.

“The sound we have provided is completely natural without colouration, so that performers can explore their art to its maximum potential,” comments ASIIS director, Andy Mulya Sutikno. “Our customers maintain that the Waves setup adds more colour, scenes, saturation and harmonics to their mix.”

Comprising a Waves Axis Scope qualified host and Extreme-C server networked via the SoundGrid Ethernet protocol, a Waves SuperRack adds plugin processing. Hosted on a computer, the MultiRack plugin software supports both Native and SoundGrid processing for up to 128 audio channels. The theatre technicians can run plugins in real time, customise their work with floating windows, set extended-scope snapshots and run any live show with greater ease and speed.

L–R: ASIIS’s Andy Mulya Sutikno and Ebenhaezer Christo with government theatre advisor Inu Sentanu

L-R hangs each comprise six-per-side Sora Concerto CLA310 speakers

Located above the ceiling and second-tier seats, the FOH control room is the main connection hub for mixing in the theatre. Both the Waves system and the Holophonix immersive software can be managed remotely from an iPad interface. “The theatre technicians have a poor view of the stage from the control room and the theatre did not want to lose their limited seats to a production suite,” explains Sutikno. “With wireless technology, it is no longer necessary to be fixed to the mix position, and the theatre technicians can wander around the venue managing the audio parameters remotely.”

Supporting the singers and musicians onstage, the electroacoustic setup comprises multiple speakers surrounding and overhanging the audience. The goal was to recreate virtual acoustic reflections as naturally as possible. Sentanu specified Sora System loudspeakers manufactured in the Javanese city of Solo. “Sora may be a relatively new brand but, having listened to their demonstrations, their sleek, modern design demanded attention,” he says, explaining that it merited a demo for the head of culture. “In addition to specifying several Sora loudspeaker models for this prestigious theatre, the minister also recommended that the brand be proposed for other Jakarta locations.”

Founded by Sutikno and Belgian engineer Thomas Destrée, Sora System’s mission statement is “where Indonesian musical soul fuses with the precision of European engineering to redefine pro audio”. Continues Sentanu: “From the outset, I demanded a loudspeaker system that could emulate a natural sound, so it is fortunate that we didn’t get the green light until recently, otherwise Sora would not have been available as a brand. I had been frustrated for a very long time, but what the ASIIS developers have created is quite literally a dream. The audio is natural with virtually no added processing.”

The main FOH system relies on Sora Concerto series 3-way coaxial modules. The L-R hangs each comprise six-per-side Concerto CLA310 double 10-inch cabinets and the front seats are augmented by five CLA311 single 10-inch models. The lower frequencies are extended by three Seismo CSW221 double 21-inch subwoofers, in addition to three Nucleo TX318 triaxial 18-inch cabinets fixed above the proscenium. Enhancing the immersive experience, 16 Duo CX12 12-inch passive monitors are fixed to the acoustically treated walls, with an additional six Duo CX12A

amplified monitors facing down into the main stalls from the ceiling above.

Extending the Dante networking, 14 racked Sora System Class-D amplifiers power the entire passive speaker system from the second-level control room. Two Core 3K4-D amplifiers power three double 21-inch subwoofers, with two Core 2K4 models driving the three TX318 triaxials and CLA310 front fills. Eight Core 1K4-D amplifiers supply ample headroom for the 12 CLA311 arrays and 22 CX12 monitors.

“For the lighting, a number of factors had to be perfected including the colour, white balance and CRI [Colour Rendering

Index],” explains Sutikno. “Adding venue flexibility, we have fixed locally manufactured custom panels for lighting control and automation to the stage left walls. In addition, our team also installed motorised trusses with plots of lights that can easily be fixed into position. This allows the theatre technicians to make changes with the large inventory of lighting fixtures we supplied as part of the package.”

ASIIS focused its lighting design on a selection of Chauvet Professional fixtures specified for their reliable, consistent and price-performance qualities. For versatility over the full spectrum, 20 Ovation Rêve E-3 multicolour ellipsoidal LEDs and 20 Ovation HD zoom lens units add brightness and variety. The range is extended by 20 Rogue R2X and 14 Colorado 3 Solo wash fixtures together with 12 Maverick Force spots which can be quickly

connected to the lighting bars. Further contrast is provided by motorised Colorado PXL Bar and Solo tilting battens which can be seamlessly mounted together to create wide pixel-mappable looks for certain productions. Two Chauvet 120ST followspots and an Antari Haze HZ-500 smoke machine extend the dramatic effects.

“Not only does the Chauvet solution create very warm colours and saturations, but the theatre technicians can dip in and out very smoothly during performances,” explains Sutikno at the control surface of a ChamSys MagicQ Stadium Connect programming interface. Loaded with GeNetix 10Scenes, cues and presets, the lighting console is controlled from a PC touchscreen. “The MagicQ is intuitive and can be quickly programmed to produce very fast bursts of light,” he continues. “Following a quick briefing from ASIIS engineer Tony Hartono, the theatre technicians headed by Egi were quickly creating powerful dynamic productions in an efficient manner thanks to the timeline built into the console.”

ASIIS has established itself over the years throughout Indonesia as a renowned designer and installer in the entertainment and house of worship sectors. The company’s works at the Teatre Kecil TIM possibly stand out as its best testimony to date. “I fully believe that we have designed and installed the first true immersive theatre in Indonesia,” asserts Sutikno. This was made more remarkable given the narrow window of 40 days that ASIIS was given to complete the project, which was effectively halved by the time the team was physically allowed onsite. The first week was spent creating multiple conduits for routing the Ethernet, communications, loudspeaker and DMX cabling. The finale was dedicated to audio and lighting fulfilment followed by commissioning.

By optimising the venue for sound and lighting, artists can focus on creativity and exploring their skills, according to Sentanu: “Since the upgrade, I have noticed that artists are more confident when performing. In addition, observing the theatre technicians adapting to this added flexibility has been a revelation. Using their iPads loaded with the Waves mixing, Holophonix immersive and Chauvet lighting apps, they have been liberated from the upper-level control area and can manage the parameters more effectively.”

The flexibility provided by ASIIS’s groundbreaking installation is now producing genuine audience excitement courtesy of vivid colours and sounds that are constantly on the move. Although dwarfed within Jakarta’s TIM complex, the Teater Kecil is nevertheless enjoying the attention it deserves.

www.asiis-indonesia.com www.chauvetprofessional.com www.holophonix.xyz sora-system.global www.waves.com

A ChamSys MagicQ lighting console provides intuitive control

Multiple speakers surround and overhang the audience

The 240-seat theatre often hosts experimental performances by young artists

The lighting design is based around Chauvet Professional fixtures

Three Sora Nucleo TX318 triaxial cabinets are fixed above the proscenium

Quality over quantity

Richard Lawn visits a club in suburban Sydney that’s a home-from-home for

Croatians

living in Australia

THE NEIGHBOURHOOD MAY BE DISTINCTLY WESTERN

Sydney but The Concord Club, located on the edge of this suburb, serves as a unique enclave for Croatian expatriates and others seeking an Adriatic ambience. Originally founded in Surry Hills before moving to Marrickville, the Croatian club has cemented itself as a community hub for Australian Croatians since 1951. Replicating architectural and interior design features of its mother country, the former Concord RSL Club was rebuilt and refurbished to exact blueprints produced by Altis Architecture, working with The Concord’s design team to create an authentic Croatian theme. AV technology consultant Pereira Wilson (PW) applied a sensitive touch to those blueprints. Features include an alfresco area fitted with imported Croatian limestone, Benkovac stone, terracotta roof tiles, exposed timber trusses and floor tiling including custom border tiles at the main island bar. However, prioritising the correct foundations – including the imported Croatian stone – ensured that some other budgets would need to be frozen until the club finances were revitalised. “It’s a common scenario,” admits PW co-owner Jack Wilson. “Ultimately, we had to decide what AV elements the club required for their phase one opening and futureproof the cabling and network infrastructure to ensure endpoints such as projectors, LEDs and loudspeakers could be fitted later.” Having been commissioned, PW only had a lead time of three months to design the technological aspects of the club before the works commenced. “At that time, supply chain issues were rife, forcing us to swap out some of the products owing to non-availability,” he continues.

Following a series of strategy and briefing sessions, PW conceptualised its designs according to the functional brief and allocated budget. The tender to install the AV systems was met

The divisible conferencing space is primarily hired for private events

QSC AD loudspeakers provide evenly dispersed BGM for diners

The main sports bar features an Aurora LED screen

L–R: TAG’s Bryan Davidson, PW’s Jack Wilson and Aurora’s Matt Vawsell

by local integrator, Sharp EIT Solutions. The distributed audio systems include BGM, paging, reinforced music and Bluetooth connectivity in specific zones. Routed over the QLAN protocol, QSC loudspeakers and CX-Q 2K4 and CX-Q 4K8 amplifiers can be managed and controlled from a rack-mounted Q-SYS Core 110f 128x128 channel processor fitted with a Dante expansion card.

Most of The Concord’s areas, including the divisible multifunctional conferencing space which is primarily hired for private events and weddings, is served by QSC AD-C 4.5- and 6.5-inch ceiling speakers. Providing a higher output to enhance the ambience of a Friday night football game, the sports lounge and restaurant area are catered for by wall-mounted AD-S6T surface-mount speakers finished in white. Weather permitting, the visual entertainment can be extended outdoors to the extensive rear terrace where music and sports are broadcast within a covered cabana. Here, an outdoor Aurora 3,500mm x 2,000mm 2.6mm pixel pitch LED screen provides the focus, with audio reinforcement supplied by L-R stacks each combining a QSC AD-S112SW 12-inch subwoofer and AD-S12 2-way enclosure.

In addition to the large-format LED screen in the cabana, a second outdoor screen – a 2,000mm x 1,500mm 3.9mm pixel pitch LED, serves as The Concord’s main digital signage at the front entrance. Indoors, the sports lounge is consistently transmitting sports channels, whether it’s for a Croatian football game or a New South Wales rugby league match. Fixed to the far wall, an Aurora 5,120mm x 2,880mm 2.5mm pixel pitch LED provides a clear view of the game for members. The final large-format display is in the Tab room where gamblers can view odds on an Aurora 3,840mm x 1,440mm 1.83mm pixel pitch LED in landscape mode. Prior to installation by specialist visual integrator Aveco, PW had to carefully consider the viewing angles, distances and locality of each display before submitting a custom design to the client. The LEDs are rated sufficiently highly to cope with rainfall and high temperatures, but variable atmospheric light was a concern. “To maintain a consistent screen brightness for the main outdoor terrace display, ambient sensors have been added to detect the changing light conditions,” explains Wilson.

The gaming area adjacent to the Tab room is fitted with several large-format Samsung QM displays ranging from 43 to 75 inches in portrait mode. Proposed visuals in the conferencing room, however, became a casualty of the restricted budget. Accordingly, cabling has been routed from the rackmounted inputs and video processor to the proposed in-ceiling locations where two Panasonic projectors and motorised screens will be fixed during phase two of the works. Served by a dedicated Crestron control panel, the conference room is further equipped with Attero Tech Dante, Bluetooth and XLR panels.

The heart of the NVX distributed video network features a Crestron CP4 processor connected to three Netgear AV network switches. Integrated with the lighting control, the NVX platform has been programmed with user-specific presets. HDMI video signals are transmitted from inputs including laptop devices to the LED screens and digital signage system via Crestron DigitalMedia Matrix expanders and encoders, together with an Extron DisplayPort converter. Three wired Crestron control 7-inch touchpanels located in the conferencing area, the front desk and the main bar provide ease-of-use management.

A wireless iPad touchscreen also allows CEO Craig O’Brien and his team to configure the AV and lighting settings while roaming the extensive club. “I’ve only been heading operations at The Concord for a week, but I find the Crestron touchpanel incredibly easy to use,” he enthuses.

“I wasn’t educated in how to operate the controls, but it is not necessary as the intuitive X-Panel GUI simplifies everything, including audio levels, video displays and lighting from a central location by the main bar.”

Upon arrival at the main reception, Williams AV hearing assistive devices can be operated over Wi-Fi courtesy of a DL102 SY2 counter loop. An inventory of 50 neck loops, headphones and Wavecast receivers are enabled by a T8 Wavecast multichannel platform. In addition, four specific zones are operated by dedicated infrared hearing augmentation systems. For events requiring wireless microphone connectivity, Sennheiser DW-3 wireless handheld models transmit to DW-3 multichannel receivers within specified zones. Finally, the installation of Audio-Technica U857Q goosenecks connected to ATND8677a Dante bases enable zoned announcements.

With phase one completed, it will be straightforward to add further AV connectivity including plug-and-play endpoints once the budget has been granted. In addition to the conference room projectors, an adjacent outdoor plot awaits the termination of AV and lighting inputs and outputs. Built-in conduits and cabling will connect a proposed staging area to the main equipment rack. This sympathetic approach to implementing an AVoIP network design during the main refurbishment works should ensure that the AV systems are futureproofed.

“The overall task for PW was to deliver a design strategy that met the specification tender,” reflects Wilson. “Despite some design compromises owing to a reduction in the AV budget, the phase one AV works were completed on time. Although quantities were decreased, the overriding element was to maintain the quality.”

Just as The Concord demanded the importation of authentic Croatian materials, PW’s insistence on establishing the correct AV foundations will serve the venue for years to come.

www.crestron.com

www.pereirawilson.com.au

www.qsc.com

www.theconcord.com.au

Unleashed power in a black dress

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Nettuno 10 & More

An extensive Williams AV assistive listening system was an important phase one fulfilment

Corners are one of the more challenging aspects of the circuit

A day A-T the races

Richard Lawn goes trackside at MotoGP in Thailand as Audio-Technica raises the stakes with mic enhancements to rev up the audio experience

NEXT GENERATION AUDIO (NGA), THE EVOLUTION OF audio experiences within media, has come of age in sports broadcasting. Ever-increasing investments in 4K UHD transmission coupled with growing demand from viewers is pressing today’s broadcasters to innovate with more immersive onscreen visuals. With audio traditionally the poorer relation in AV, broadcasters are now using it to gain a competitive edge to bring sporting events to life. With six decades’ experience on the race circuit, Audio-Technica has spent six years refining and enhancing the aural quality for the exciting sport of motorcycle Grand Prix racing, better known as MotoGP.

With an annual live TV audience of over 400 million, capturing MotoGP’s array of sounds is essential to convey the exhilaration of each race. From the mechanic’s wrench to the roar of a crowd, MotoGP rights holder Dorna Sports is constantly striving to bring fans closer to the action by pioneering audio solutions. This full immersion is aided by the strategic placement of some 200 microphones around the track, onboard the bikes and in the pit lanes.

Race 19 of 21 in the 2024 season took MotoGP to the Chang international circuit in Buriram, Thailand. Within the compact Audio Control Room (ACR) of the Dorna Sports compound, the bikes race on multiview screens, their engines replicated in 5.1.4 audio over Genelec monitors within the small mobile

race circuit,” explains Audio-Technica Southeast Asia managing director, Shao Kai Teng. “Our first task was to create a signature sound indent for the track feed. As a partner, our engineers have developed and tested customised solutions specifically for MotoGP’s high-pressure scenarios and, in doing so, AudioTechnica has pushed its audio expertise to new limits.”

L–R: Dorna Sports’ Pep Mendoza and Audio-Technica’s Rodrigo Thomaz

manufacturers had supplied a variety of microphones that fulfilled the technical aspects of MotoGP, but a lexicon of brands was represented. Because there wasn’t a specific microphone range, the inputs were inconsistent and this made it very difficult to mix and create a single image that could be adopted as a signature sound.” Because of its detailed sound and high SPL capabilities, the AE2500 dual element microphone is deployed at long straights such as the starting grid. Dorna Sports added a filter so only the low-end sound is processed in the dynamic element, allowing the condenser element to concentrate on the low-mids, mids and high frequencies. With more than 20 bikes revving at the start –too loud for human hearing – MotoGP wanted the viewer with a home surround system to hear the low end without distortion.

The BP28s are often twin-mounted in a particular configuration, at 110° or sometimes 90° angles, depending on the track. As the bikes enter the flash zone – the long straight and finishing line in front of the main grandstand – the cameras need to match

FEATURES: SPORTS

front and the other one to the rear. This creates “the flash” and, in terms of 5.1, the sound travels from the front to the rear. In addition to the BP28, Thomaz matched the longer BP28L version on cameras further from the track with longer zoom lenses in one of the last corners, tested to measure the off-axis rejection, range and amount of low-end content capture. “At the point where the bikes enter the corner and change down gear, I wanted to record the pop-pop explosions. To my delight the engines sounded amazing, and we could also hear the ceramic discs of the brakes, in addition to the explosions from the exhaust pipe and the changing of gears. It was fantastic to hear effects that had previously been inaudible or very difficult to reproduce.”

The corners remain one of the more challenging parts of the circuit, not only for the riders but also for the sound production team, as Mendoza testifies: “The riders are challenged by the deceleration phase of the corner entry, where a range of very dynamic and complex sounds need to be captured. As part of the track feed microphone project, we introduced the BP4029 stereo shotgun, usually mounted on the crane in the corners – one of the most exciting camera angles during a race. The BP4029 uses its stereo configuration to track and isolate the bikes in the corner while managing high SPLs and lower-frequency content as bikes are attacking the corners, changing gears and accelerating at the corner exit. With this, the thrill of listening to the bikes fighting from corner to corner is even greater.”

Beyond the track, the pit lanes have established themselves

boundaries for all the locations,” continues Mendoza. “We were aware of their sporting pedigree, but the challenges for broadcasting in MotoGP are very different from most other sports. They understood what sounds the engineers wanted to create, and the international transmission. This is a live production, where bikes moving at speeds of up to 350kph require specific microphones to create an ambient sound.”

Coming from music and other sports, Thomaz had no preconception of how loud the bikes would be. “The sheer volume took me by surprise,” he remembers. “I had to choose microphones that could cope with the excessive SPLs of the bikes and, at the same time, deliver high quality and detail. I opted to test the BP28 large diaphragm condenser shotgun microphone due to its high-SPL capability. I had successfully deployed this shotgun at the large summer and winter sporting events that A-T support, where the microphones are located approximately 1m from extreme loud sources.”

The tests were a huge success. Both BP28s placed on the fence near the track and the BP28L line and gradient directional microphone mounted on a camera in the distant grandstand outperformed previous mics, delivering a rich low end, high level of detail and zero distortion. “Our first challenge was to provide a signature sound,” he continues. “Prior to our arrival, other

Audio-Technica SEA MD, Shaokai Teng

The BP28s are often twin-mounted in a particular configuration

The Lawo mc²56 console in the ACR

microphones inserted into our cameras, so it was pure luck if it was close to an entering bike,” recalls Mendoza. “To provide full coverage when needed, we wanted to place microphones around the pit lane and boxes.”

Thomaz realised that a completely different selection of microphones would be required to capture this specific scenario: “This rich, diverse soundscape can get lost in the sheer volume of the pit lane and boxes. The challenge is to use a microphone that can isolate each box and capture all the interesting details happening in a focused area outside the box, while being able to manage the loud bikes arriving and leaving. It’s a tricky balance; we want to capture the exciting sounds of mechanics’ chatter, tools and bikes entering and leaving the boxes, but we also need to preserve the privacy of teams discussing strategy and other conversations that should be kept within the box.”

Ultimately, Thomaz opted to place U851R cardioid boundary microphones high on the rear wall of each pit and the underside of the front canopies. “This is a versatile mic which can capture the sound of each box at the pit lane as the bikes re-enter or leave the track,” he explains. “The pit lanes can be loud when the bikes are revving up, but the U851R has lowend presence. However, the main goal is to incorporate the finer details such as power tools, changing parts, fuelling up and mechanics’ discussions into the audio transmission.”

In addition to installing microphones on the track, the grandstands and the garages, Audio-Technica was challenged to upgrade the onboard mono microphones on the bikes

The packed crowd in the grandstands cheering on specific riders and teams adds another element to the broadcast feed; the collective “whoa” at moments of drama is vital. “MotoGP wants the home experience to mirror the circuit,” says Thomaz. “Depending on the distance of the crowd we sometimes use the BP4027 shotgun, but we generally use the BP3600 immersive microphone to capture the different tiers of crowd. Having betatested the BP3600 at MotoGP, we can generate a 3D image which can be adopted for stereo or 5.1.”

Through its support of sports broadcasting, Audio-Technica continues to pioneer new solutions, and MotoGP has accelerated its R&D efforts enormously, according to Thomaz: “The R&D we are conducting for MotoGP is very different from our day-to-day product development. By accepting the challenge to develop innovations for such hostile environments, our engineers have gained a much better understanding for improving broadcast microphones.”

Looking back on the six-year relationship with MotoGP, Thomaz feels that Audio-Technica’s motto, “Always Listening”, has never felt so apt: “A manufacturer needs to be challenged because you cannot conjure up your own solutions. Although we had applicable mics within our existing inventory to deploy at MotoGP, we had to quickly adapt by customising these off-the-shelf models. Listening to your clients and partners is the best way to develop a product.”

Having created a special microphone for the bikes, the Audio-Technica engineers evaluated their work at Japan’s 2019 Motegi race, finding it necessary to optimise the microphone sensitivity owing to differences in sound pressure among the different motorbike manufacturers and to counter the wind noise. Because the shape and position of wings and other parts changed with each manufacturer, the sound pressure on the onboard camera differed more than expected.

“We made use of our newly developed BP899 omnidirectional lavalier because it could withstand high SPLs,” recalls Thomaz. “By putting it through its paces, we could better understand its limitations in a harsh environment, including exposure to 350kph speeds. Our engineers modified the BP899 to manage the sound pressure, but it remained a challenge to integrate in the external butt cameras. Fortunately, Sony had started working on an onboard camera project with Dorna Sports around this time, and their camera provided us with more space to install the microphones. We were able to collaborate with them on the preamplifier design, so we can now offer stereo audio from the bike itself.”

Normally the enemy of audio capture, wind hitting the bike is needed to convey the sense of speed. “It’s a balance as to how much wind you wish to retain in the mix, so we needed to understand how the onboard microphone would be affected,” explains Teng. “To provide the viewer a sense of realism and excitement, our engineers developed a special windshield with plastic winglets attached to the body of the onboard camera. The windshield is positioned to diffract the wind, disturbing it enough to reduce excessive noise being heard in the transmission but keeping enough to retain the sensation of speed.”

MotoGP involves five different bike manufacturers but, as the Audio-Technica engineers will testify, their engines all sound different. “When we first started developing the onboard BP899 mic, we tested on a Ducati,” says Thomaz. “It sounded good, and the dynamic range was wide, but when we tested the same microphone on a Yamaha bike, it was as different as night and day. Ultimately, we had to tweak the sensitivity settings owing to SPL variations and tonal differences between bikes.”

To satisfy the MotoGP engineers, onsite Audio-Technica engineers and TV directors, Thomaz and his team provided professional consultancy. “We had to know what type of angle the camera operator was shooting, for example, and, as a result, what type of sound was required. Pep Mendoza requires wide dynamic range and no distortion from the microphones and, on the creative side, it was important to match the expectations of the directors and content creators. The collective feedback provides information for our engineers to develop new products to be tested at these races.”

The developments made by Audio-Technica continue to help MotoGP in its quest to stay in pole position as a sports broadcast, conveying a truly immersive spectacle to viewers. “We could simply buy a microphone online, but that wouldn’t add value,” Mendoza concludes. “By partnering with a dedicated and proactive manufacturer that can customise microphones specifically for MotoGP, we can stay ahead in this race.”

www.audio-technica.com www.motogp.com

The AE2500 dual element microphone is deployed at long straights

The corners are equipped with mounted BP4029 stereo shotguns

3000 S er ies Net work S ys te ms Scan, Plan, Deploy and

Monitor

• Class-leading, extremely wide 60 MHz UHF tuning bandwidth for maximum versatility

• Unique multifunction button on the handheld and body-pack transmitters can be used to switch to a backup frequency should interference be encountered

• Automatically adjusts squelch setting to maximize range while minimizing interference

• Optional network transmitter charging docks

• Frequency scan and IR sync for ease of setup

• Handheld transmitter industry-standard thread mount for use with six interchangeable A-T microphone capsules, as well as other compatible capsules

Playing smart

the latest conferencing technology

ALTHOUGH IT’S STARTING TO FEEL LIKE A DISTANT

memory, reminders of Covid are still everywhere, especially in the ways that business and educational practices are now conducted. A good example can be found at the International Management Institute (IMI) in New Delhi, which has, over a period of several years, converted all 16 of its teaching spaces into smart classrooms in response to lessons learned during the pandemic.

Set up in 1981 in collaboration with the International Management Institute Geneva (now IMD Lausanne), the institute has extended its programme of education over the decades and offers a flexible range of full-time and part-time study options. IMI is accredited by a number of bodies including the Association of MBAs (AMBA) and is frequently rated as one of India’s top business schools. Almost 800 students are enrolled in its New Delhi campus. Covid saw the institute pivot to a requirement for totally hands-free technology, outlawing the use of handheld and lapel-mounted microphones in particular. This, combined with the ability to offer hybrid models of study, has revolutionised the teaching methods at IMI.

“The main motivation behind the upgrade was initially to avoid holding microphones in the hand or even have them mounted onto collars, to prevent infection,” recalls Sameer Gupta, CEO of Crystal Presentation Solutions, a New Delhi-based systems integrator that has been working with IMI for the past 15 years.

The institute shortlisted several brands of interest before deciding on a solution for 16 of its classrooms, incorporating Sennheiser, Xilica, Konftel and Audac technology. So that teaching could continue relatively undisrupted, the project was rolled out in phases, which also meant that the equipment could be tried out for efficiency and also remain within the constraints of IMI’s annual budget. “They started with just two classrooms for two months, testing out all the parameters,” Gupta continues. “After the initial two months we started on the next four rooms and progressed like that.” This rolling method of executing the project took a total of two years to complete as all the classrooms were gradually refreshed and converted to the new systems.

The rooms, which have near-identical layouts and are roughly the same size, can each accommodate around 80 students.

“The criteria was for local sound reinforcement,” explains Gupta. “When someone is speaking, it needed to be audible around the room at the same level for all participants, so it’s not too loud for some or inaudible for others, even if a teacher is speaking at a low pitch. Natural sound can be heard by the entire audience, as if coming directly from the speaker.”

The installation is completed by a Brio 86-inch interactive display with touchscreen capabilities and two LG 65-inch LED screens. All spaces, which are independent and standalone, are equipped with Microsoft Teams and Zoom capabilities, allowing remote participation. Presenters can connect their laptops to the system and, because the LG interactive display has an in-built computer, data can also be fetched directly from

At the same time as the technology was being installed, the rooms were also being refreshed with new interiors, which included the provision of acoustic panelling to optimise the new

relayed around the room by four Audac WX502 wall-mounted speakers powered by an EPA104 4-channel Class-D amplifier in each classroom. The Audac and Xilica equipment was sourced from local distributor, AV Essentials, while Gupta worked closely with Sennheiser India – with whom he partners on many of his projects – to provide the TCC 2 ceiling mics.

Crystal Presentation Solutions’ Sameer Gupta in one of the refurbished classrooms

Each smart classroom is equipped with an LG interactive display

Konftel Cam50 PTZ cameras track participants as they speak

Fortunately, the initial systems to be installed performed so well that identical setups were rolled out across all the rooms. “We stuck to the original because they were very satisfied with the products and got used to working with them; they didn’t feel the need to explore new options,” says Gupta, whose team attends IMI on a quarterly basis to provide ongoing preventative maintenance. Crystal Presentation Solutions’ role also extended to providing training for the institute’s technical staff. “They have an IT team who have been trained in how to use the equipment, and how to troubleshoot if necessary,” continues Gupta. “We’ve provided standby manual microphones just in case something goes wrong;

the impetus of the pandemic. “Covid was a trigger which sped things up, but it probably would have happened at some point, although not with the same amount of urgency,” he says. Gupta is fully aware of the benefits of installing classrooms with unobtrusive technology when it comes to teaching methods. “People are able to be more relaxed,” he says. “It becomes very formal when you have to hold your hand up and wait for the microphone and everyone’s looking at you. But, in a smart classroom situation, the debates and lectures become much more natural, and everything flows without having to pause.”

Dinesh Sharma, head of IT at IMI who was closely involved with the upgrade, wholeheartedly agrees with this assessment. “All of our classrooms have a nice clean look now, and they are all ready for hybrid teaching – both online and offline,” he says, mentioning that the institute has a roughly 50/50 split between the two models. “This is the beauty of the investment we have made in upgrading our faculty.”

There are also advantages in being able to welcome guest lecturers to the Delhi campus, albeit remotely. “It means we can involve many more people from outside,” continues Sharma. “For example, we could have a guest lecturer join us from America or anywhere in the world, which is a great benefit to our students.” Sharma also confirms that after a settling in period, students are now largely unaware or unconcerned about whether the lectures they attend are hybrid or offline.

The lengthy conversion of all its teaching spaces to hybrid conferencing technology was doubtless a disruptive period for the long-established IMI. However, the benefits it has brought to lecturers and students alike, as well as the ability to open up the campus to remote participants, have more than justified

www.xilica.com

and two LG LED screens

IMI’s head of IT, Dinesh Sharma

French made

Richard Lawn drops in on a slice of Mediterranean cool gracing the beach at Pattaya

LOCATED ON PATTAYA’S WALKING STREET, BYBLOS Beach Club differentiates itself from numerous other neighbourhood venues by adding a touch of Mediterranean chic along the Thai waterfront. Modelled on a Café del Mar-meetsBali concept, the open-air club is serenading passers-by on account of an L-Acoustics loudspeaker system designed and newly installed by Vision One.

“The site was previously a hotel with a pool, but we have invested heavily in redeveloping and transforming the site into what you see today,” explains owner Jessy Sousou. Bounded between the white-walled entrance and the beach, the spacious property includes a pool area surrounded by cabanas for relaxing, an indoor restaurant, outdoor dining area, exclusive VIP area and covered bar where DJs and dancers perform.

Having experienced an L-Acoustics loudspeaker system in another well-heeled Thai club called Tunnel, Sousou was

insistent that the French brand was the correct one to match the image of Byblos Beach. “It is vital that our clients can enjoy the musical ambience, yet still hold a conversation throughout the club, and I knew with L-Acoustics that we could provide that,” he continues. “Following the demonstration by Vision One, I was greatly impressed by the loudspeakers’ clean and accurate sound. L-Acoustics is associated with the best theatres and venues in the world so, by bringing that standard here to Byblos Beach Club, we aim to draw connoisseurs of high-end audio.”

Following analysis carried out by L-Acoustics’ Soundvision 3D modelling software, Vision One provided a visual representation of the loudspeaker design to its client. According to Vision One’s systems engineer Anusorn Pitiwattanaphan, a versatile loudspeaker setup was paramount for providing clear speech intelligibility and delivering high SPLs for the club’s dynamic

programme of entertainment. The multizoned loudspeaker system was installed over two phases.

“The owner demanded even coverage throughout the venue that could seamlessly support DJs, live bands and background music,” states Pitiwattanaphan. “Soundvision was relied upon to evaluate the sound coverage and volume levels required for optimal loudspeaker placement. We were able to support the client’s key objectives by showing a visual representation of our proposed system designs.” These were then reviewed and approved by L-Acoustics’ APAC application engineers.

In addition to the restaurant, the analogue networked audio system has been zoned into four areas. Providing high power and wide dispersion, the main pool party system comprises two stacks of A15 Focus constant curvature WST 10° line source enclosures fixed to compact KS21 subwoofers designed to extend the bandwidth of the A15 system. Powered by two LA4X 4-channel

Byblos Beach Club owner Jessy Sousou

The DJ booth is equipped with dual X15 HiQ coaxials and SB18 subwoofers

amplified controllers, the 21-inch subwoofers produce low frequencies down to 31Hz (–10dB), and the 15-inch A15 speakers disperse energy across a symmetric 110° horizontal plain.

The musical programme isn’t restricted to BGM and DJ schedules however, as Byblos hosts live entertainment supplied by musicians and percussionists. However, the main DJ area at the front of the outdoor bar is instantly recognisable behind an arced LED screen. To the left and right of the twin Pioneer decks and the podium dancers are speaker stacks combining an L-Acoustics X15 HiQ 2-way active coaxial point source speaker with an SB18 18-inch subwoofer. Installed under the roof and directed towards the outdoor seating area, three X8 8-inch coaxials serve as fills. As with the main pool system, dual LA4X networked amplified controllers provide sufficient headroom in addition to power factor correction and DSP.

The vibe changes for those seated in the seven cabanas between the two systems on either side of the pool area. Fixed under the thatched and canvas roofing, more X8 speakers combine with SB10i ultra-compact 10-inch subwoofers mounted above onto silent blocks. This unique zone is powered by a single LA7.16i 16x1,300W amplified controller. Now approaching its

carpentry techniques used to optimise internal volumes, maximise bass and eliminate vibrations.

Upon entering Byblos Beach Club, VIPs can proceed immediately to their exclusive two-level area for champagne, cocktails or drinks of their choice on arrival. The audio mixing, lighting and LED control area is also located on the upper level of this zone, with a great view of the property. Powered and networked by two LA4X amplified controllers, each level is served by dual X12 12-inch coaxials and supplemented by single SB18 subwoofers. The activity centred around the pool area is best viewed from this vantage point, where four A15 Focus 15-inch full-range enclosures combine with companion KS21 subwoofers.

Providing 110° of horizontal dispersion, each A15 Wide constant curvature cabinet can be stacked or flown as an array. According to Pitiwattanaphan, the plug-and-play “one-on-one” concept of one sub for any one top, and one channel of an LA4X amplified controller for any one enclosure, provides the venue with simplicity of setup. Weighing 49kg each, the 21-inch subwoofers are stacked in pairs in non-cardioid configuration and wheeled into position on dollies when required. A-Tilt rigging elements can be applied for stacking dual A15 speakers onto the KS21 subwoofers.

The Vision One engineers maximised ease-of-use features for the Byblos Beach Club engineers. “This includes intuitive controls and clear workflows,” explains Pitiwattanaphan. “For

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example, we’ve preconfigured the settings for DJ performances, live bands and background music. Following full system training, we created a simple troubleshooting guide for common issues should they arise. We can remotely manage and configure the system parameters from Bangkok with the LA Network Manager software on a desktop or laptop computer.” With the club located next to the Gulf of Thailand, the saline conditions, high humidity and heat will test the electronics going forward. Although all the components were shipped from L-Acoustics’ Marcoussis facility in France with IP54 and 55 ratings, the Vision One aftersales team will regularly monitor and service the electronic components. “To mitigate these risks, we selected equipment rated for outdoor conditions, ensured all speakers are placed under protective structures and implemented a regular maintenance schedule,” says

Pitiwattanaphan. “It is important to maintain the brand’s reputation, so these measures reduce the likelihood of failures.”

The lighting design across the venue includes a large inventory of 280 fixed and 350 moving head beams in addition to 960 strobe effects. The fixtures are controlled from an Avolites Arena lighting console, incorporating preset playbacks in the top right corner and playback faders at the bottom. HDMI video outputs are received from PCs and laptops via a Novastar VX400 LED processor. In addition to being used as a stagebox, a rackmounted Soundcraft Ui24R is used for live audio mixing and for recording up to 10 devices via Ethernet or Wi-Fi. Compared to its Walking Street neighbours, Byblos Beach Club has certainly differentiated itself by filling the warm air with refined, subtle audio. Transplanting a theatrical loudspeaker system from this French manufacturer into a Thai beach resort would have been surprising not so long ago. Times change, and L-Acoustics commands a more universal appeal than ever before. More than capable of performing in a tropical outdoor setting, the new system has succeeded in transforming this section of the Pattaya coastline with une touche d’élégance.

www.l-acoustics.com www.visionone.co.th

An X8 coaxial enclosure in one of the cabanas

Low frequencies in the seated areas are extended by SB10i subwoofers

The pool is covered by two stacks of A15 Focus enclosures and KS21 subwoofers

Light up the sky

The pioneering Projection Mapping Association of Japan has again teamed up with Disguise Japan to present a showcase of international projection mapping works. Caroline Moss is dazzled by Tokyo Lights 2024

AS DARKNESS FELL IN TOKYO’S MEIJI JINGU gardens, 300 drones came to life on their docks, levitating upwards to fill the sky with a spectacular lightshow synchronised to music. This was the opening show for Tokyo Lights 2024, an annual light festival held since 2021 which showcases a variety of projection mapping works. Among them were award-winning entries from the international One Minute Projection Mapping Competition produced by the association, as well as guest works.

The Projection Mapping Association of Japan was formed back in 2012 by the visionary Michiyuki Ishita, when the art was in its infancy. “I was a video artist myself and I wanted to promote the art by starting a small projection mapping association to raise awareness,” he recalls. “Back then, nobody really knew what projection mapping was or how it was made, so we needed to come up with a lot of new ideas.”

Ishita started to work in projection mapping while living in the UK before returning to Japan to start the association. “Technology over that time has developed so much, especially when it comes to the projectors; they have really progressed,” he continues. “When I started, I was projecting onto buildings using 5,000-lumen projectors, but it wasn’t bright enough. Within just 10 years we’re now using 40,000-lumen projectors.” The association now stages 20–30 events per year throughout Japan and beyond, in APAC countries including Cambodia, Thailand and Malaysia.

The One Minute Projection Mapping Competition began 13 years ago and, for the past four years, the backdrop for the projections has been the Meiji Memorial Picture Gallery. For the 2024 edition, around 20 one-minute-long projection mapping works by artists from 54 countries and regions were displayed against the backdrop of the stately granite

building commemorating Japan’s Meiji Emperor, under whose rule the Meiji Restoration began a period of modernisation and development. The content was being handled by three Disguise VX 4+ media servers operated by the company’s technical support specialist, Takakiyo Kobayashi.

The VX 4+ server is equipped with an AMD Radeon Pro VII GPU, which is capable of handling up to 16 input signals. The show also deployed Disguise’s OmniCal camera-based projector calibration system, which drastically shortens mapping time to a matter of minutes, allowing final adjustments to be carried out offline. “By deploying OmniCal, which can be used with the VX 4+ and other servers, projection mapping is made significantly easier,” explains Kobayashi. “This technology works by projecting blobs onto the structure to be mapped, capturing a 3D point cloud and correcting any inaccuracies in the actual projection.”

Video output was handled by a total of 14 Barco projectors. Four UDX-4K40 models were used for the central part of the building, with eight UDX-4K32 for the other areas. Waveform Audio File Format (WAV) files were also output from the VX 4+ servers, providing the synchronised music that accompanied the visuals. “The Disguise system allows audio and video files to be overlaid on the timeline, ensuring synchronisation between video and sound as long as there are no discrepancies in the content itself,” continues Kobayashi.

The technology is the latest in Disguise’s 25-year journey. The company started life in London in 2000, creating new visual experiences for live shows by artists including U2 and Massive Attack using the latest real-time technology. It had already been working in Japan for almost a decade by the time Disguise Japan was incorporated in 2021, having initially collaborated with rental partner, Hibino Corporation Visual Division. The first person to

Disguise Japan’s Takakiyo Kobayashi operating the VX 4+ servers

The Meiji Memorial Picture Gallery was used as a backdrop for the projection mapping works

represent Disguise in Japan was Tsuyoshi Mitera, who now heads up the company, and whose past AV industry experience includes 10 years at Roland Corporation. He was brought onboard in 2019, the same year the company handled Toyota’s groundbreaking immersive LED booth at the Tokyo Motor Show. Guests were greeted by a seamless 77.4m-long, 24,768 pixels-wide LED canvas, with interactive elements and live gaming facilitated by Disguise VX 4 media servers supplied by Hibino.

During 2020, as the pandemic hit, Disguise decided to go all-in on a new technology it had been testing, extended reality (XR), which uses existing augmented-reality platforms to allow performers on virtual sets to interact with both real and virtual objects. Once Disguise Japan began to offer an XR solution system, this opened up new opportunities in the virtual production space, allowing it to extend its services beyond providing 3D live event media servers. “In the process, we became the only company in Japan to provide truly integrated solutions for multiple applications such as projection mapping, large-scale LED playback, in-camera VFX and XR,” explains Mitera, who was joined in 2021 by head of marketing and operations, Koji Iida, as well as Kobayashi, as Disguise Japan was formally incorporated. Since then, the company has reported significant growth in its customer base. “More clients and partners from a range of different industries are joining the Disguise community and benefitting from our hardware-on-software platform,” continues Mitera. “We would like to work hard as a team to make the entertainment business in Japan even better, while providing accurate and speedy support close to our customers.” Hibino was one of Disguise Japan’s first partners to adopt XR into its workflow for virtual production and in-camera VFX, and the two companies recently collaborated to launch Hibino’s VFX Studio using a combination of Disguise VX 4 and RX II servers together with ROE Visual Ruby LED technology. Another XR partner is video rental company Audio Visual Communications (AVC) which has recently completed Blackbox3 Studio, while sales partner Ark Ventures is promoting Disguise solutions alongside its integration products such as ROE Visual and Mo-Sys.

Ultimate Connectivity Endless Possibilities

The Tokyo Metropolitan Government Building is the backdrop to nightly projection mapping shows

Following Disguise’s participation in the Tokyo 2020 Summer Olympics and Paralympics coverage, the company is now looking forward to World Expo 2025 in Osaka. Back in Tokyo, crowds outside the Tokyo Metropolitan Government Building in Shinjuku are entertained each evening by a projection mapping show on the 48-storey, 127m x 110m (HxW) twin tower building. The sheer surface area of Tokyo Night and Light alone – 13,905m2 –has seen it awarded the Guinness World Record for the largest permanent projection mapping exhibition since it opened in February 2024. Every night, from 7pm, crowds gathering in a plaza in front of the building are treated to such spectacles as Godzilla: Attack on Tokyo! and Pac-Man Eats Tokyo. The show is operated by solar power, with 40 projectors supplied by the Panasonic Connect Co which are operated remotely and monitored from the company’s Yokohama office. In terms of raising public awareness of projection mapping with colourful and dramatic content, it’s certainly ticking boxes. The urban architecture of Tokyo, together with Disguise’s technology and the vision of the Projection Mapping Association of Japan, is a winning combination for the growing art form.

www.disguise.one

The HDSPe AoX PCIe x4 audio interface cards combine dual network ports with headphone output, AES3, MIDI, and internal expansion headers for up to four MADI ports. Whether used in a Thunderbolt™ expansion chassis or built into DAWs or audio processors, these cards send and receive up to 512 channels of audio and provide numerous mixing and routing capabilities.

May the force be with you

Caroline Moss travels to the outskirts of Delhi to visit a new recording studio with a distinct New York flavour

SOME CAREER PATHS ARE SET IN STONE EARLY ON.

Rohan Solomon started playing in a rock band called Cyanide while still in high school, touring the country to play gigs and festivals and racking up music industry contacts.

On leaving college, Solomon travelled to New York to study music production and audio engineering at the Recording Connection audio institute. An internship at Engine Room Audio studios in Manhattan followed, where he worked with studio owner, mastering engineer and Grammy winner Mark Christensen as well as mix engineer Michael Brauer. Then, when Solomon returned to India for a family visit in early 2020, fate intervened. Locked down in Delhi, he decided to stay put and bring his studio experience home.

“I really wanted to start a studio, and everything just combined to make this happen,” he muses. “I thought I could utilise everything I’d learned in the US to raise the level of recording in India. We have a lot of artists here that want to break out of the standard Indian ‘indie’ sound and do something different.”

Having identified a floor of a suitable high-rise building in Gurugram, on the outskirts of Delhi, Solomon brought in Munro Acoustics to design the studio. Meanwhile, he continued to write and produce his own music from home while the inevitable delays of Covid saw the project extend beyond its projected finish date. This wasn’t time wasted though, as some of the tracks recorded and produced in his small home studio ended up topping the charts in India and abroad. Finally, in early 2024, he moved into his new studios, Synergy.

“It was a big switch moving from a home studio to this space,” says Solomon, referring to the new premises’ 178m2 footprint. “The guys from Munro were extremely helpful; they were always available to guide us. Because they have so many contacts, they also sourced a lot of equipment for us.”

Being a Star Wars afficionado, Solomon has named his recording rooms after two of the spacecrafts. The larger of the two, the Dolby Atmos-enabled Falcon, is primarily used for multitrack recording and is equipped with a wide variety of analogue equipment. “Lots of studios use a digital interface for recording, but that doesn’t leave you with any sort of character,”

he continues. “I wanted to provide that right at the recording stage, looking at what mic and preamp should be used. Putting something through a Neve is going to sound very different than putting something through a Chandler or an API. We offer a wide choice of outboard equipment and microphones and, on top of that, we can mix in Atmos, which is only going to grow in popularity now that streaming platforms are onboard with the format.”

Munro’s acoustic consultant Vignyan Beera handled the acoustic design of the studios, isolating the entire floor from the rest of the building. Munro also sourced a package of audio

equipment, including a pair of ATC SCM45A Pro main active 3-way monitors for Falcon and ATC SCM25A main monitors for Phoenix, plus a 7.1.4 Genelec system in the Falcon control room comprised of 8341A and 8351B SAM studio monitors and a 7380A SAM studio subwoofer, with a Genelec GLM kit for system calibration. Munro also sourced outboard equipment including several API Audio 550A, 550B and 560 EQ units, an API Channel Strip, 3124MV preamp and 2500 compressor together with AMS Neve 1073 and 1081 and Chandler Germanium preamps and EQs.

Rohan Solomon wanted to raise the level of recording in India

Munro’s team extended the Star Wars theme to the studio’s acoustic diffusers

Falcon is installed with ATC main stereo monitors and a Genelec 7.1.4 system

Solomon has amassed an impressive inventory of classic analogue gear over the years, including the Neumann M 149 tube microphone, Neve 1073, LA2A, 1176 and 33609 preamps, limiters, compressors and EQs, Warm Audio EQP and Maag EQ4 equalisers as well as the SSL EQ module and SSL G-Bus compressor. “These are things I’m very familiar and comfortable with,” he says. “They sound so musical and make my creative flow easier and more seamless.”

The smaller Phoenix control room has been designed for production and composition, where clients can work independently on a laptop and, if they choose, access the analogue equipment in Falcon or listen back on the Dolby Atmos system. Between Falcon and Phoenix is a large live room, which Munro’s Utkarsh Naidu describes as a centralised recording area. “The initial plan was to have one main live room and a main control room, but then we decided to have two control rooms with interconnectivity for all the equipment and inputs from both recording rooms,” he explains. “As lots of instruments will be played in this room, we’ve provided a reverb time that gives a live environment with the option of also being able to record a dry signal.” To offer this flexibility, Munro has designed moveable acoustic panels, or gobos, that can be wheeled in to modify the acoustics.

A vocal room off the live area, acoustically treated to be dead and dry, is used for voiceovers and adverts, as well as Solomon’s podcasts. Providing a visual connection between the rooms, a camera system running on an NDI (Network Device Interface) backbone allows engineers to see musicians – and vice versa – via monitor screens in all the rooms. The NDI network also facilitates streaming and Solomon’s remote teaching sessions. The interconnectivity between the rooms is what Solomon believes gives his studio a unique edge. Wall panels offering analogue audio and Dante connectivity allow sessions in the live room to be recorded in the Falcon and Phoenix control rooms – simultaneously, if desired. On top of this, the analogue equipment in Falcon can be used while recording in Phoenix, and vice versa.

“Once we’d analysed the layout, we started figuring out where the server room should be,” explains Naidu. “Because this studio is not only equipped with analogue interconnectivity but also Dante and video, it’s a hybrid, decentralised system.” Ethernet and Corning Thunderbolt 3 fibre optic cables have been laid between the server room and the different spaces. “We connected a USB 3.0 cable over fibre optics, which is a unique achievement for us in terms of

“Our initial idea was to use an analogue console that could also function as a control surface,” explains Naidu. “However, Rohan preferred incorporating analogue outboard gear to add different flavours rather than relying on a single console’s sonic signature. We designed the setup so that the entire analogue input structure can be directly connected to audio interfaces for recording or used as inserts on audio tracks in Pro Tools whenever needed. All routing is managed via Switchcraft StudioPatch 9625 patchbays. For the control surface, we’ve used two SSL UF8 DAW controllers and one UC1. This configuration allows us to record analogue units directly or in a signal chain into the DAW.”

Headphone mixes are sent to artists in the live room via Dante to an Allen & Heath ME-U PoE personal mixer hub. “All 16 monitor mix channels can be routed to any of the artists, who can do their own headphone mix with portable ME-1 mixers,” explains Naidu. “When mics are plugged into preamps for direct recording to the DAW, a copy of the signal can be sent to individual artists, allowing them to listen and compare the dry, wet and processed

digital peripheral connectivity over long distances,” he continues. “It had not been done before in India, and we had to specially import the Corning Thunderbolt fibre optic cables as they were not available from any local vendors.” These cables connect Universal Audio interfaces in the control rooms to the server room. The rest of the cabling is analogue, running from both control rooms to the live room and recording booth.

Rather than adding AD/DA converters for inputs, analogue recordings are made directly into the Universal Audio interfaces, which can also be used for recording with plugins. A Universal Audio Apollo APX16-HE in Falcon is daisy-chained with an Apollo X8P-HE and a UAD-2 Satellite Thunderbolt 3 OCTO Core. This setup combines the two interfaces and one plugin processor into a single, cohesive audio interface and plugin system. The Phoenix control room is equipped with an Apollo X8 and daisy-chained with another UAD-2 Satellite Thunderbolt 3 OCTO DSP accelerator.

to adjust cues and headphone mixes, saving time and allowing engineers and producers to focus on creative work.

Subtle Star Wars themes are present throughout Synergy, from the colour schemes to diffusers shaped like Star Wars symbols designed by Munro architect Rachel Jacob, to speaker stands and tables created by the company’s product designer, Johan Pais.

One of Solomon’s criteria when building Synergy was to create a studio that his 19-year-old self would have loved to work in. “I wanted to create a space that that kid did not have,” he reflects. “Now, there’s some other 19-year-old musician looking for a nice space to work in, with great analogue gear, who can come here and focus on their music and let us take care of everything else. It was very important to me to provide this sense of community.”

It’s early days for Synergy, but its well-thought-out design should mean the sky’s the limit. The studios can handle a wide spectrum of applications, from recording simple voiceovers, audio books and podcasts through to recording and mixing immersive film soundtracks and 3D music. And, with ongoing plans to enter the education market by providing music and sound engineering programmes to colleges and collaborating with existing music schools, the community that Solomon is determined to create will only expand.

www.apiaudio.com

www.atc.audio

www.genelec.com

www.munro.co.uk

www.solidstatelogic.com

Munro’s Utkarsh Naidu (left) and studio owner Rohan Solomon (centre) with the Synergy team

SSL DAW controllers are central to the outboard setup in Falcon

Phoenix is a smaller room designed for composing and production

The live room is connected to the two control rooms

Universal appeal

Caroline Moss visits the Universal Music Group’s Tokyo studios, where a PMC-equipped Dolby Atmos facility is remastering the label’s back catalogue and creating immersive mixes of new music

A SUBSIDIARY OF THE UNIVERSAL MUSIC GROUP (UMG) founded in 1990, Universal Music Japan (UMJ) today has the largest share of the domestic music market. In 2018, the company moved its management and studio divisions into a new building in Shibuya. Last March, a new Dolby Atmos recording and mastering facility brought the latest in immersive technology to the building. A decision had been taken the previous year to upgrade an existing

stereo recording studio as demand for the immersive format

The new room was designed under the supervision of UMG’s design team working together with their counterparts at UMJ, and built by Japanese acoustic design company, Sona, to provide consistency with UMG’s output from other territories. “We planned to use the same speakers for this room so that the sound characteristics are compatible with the LA studios for consistency with our Dolby Atmos releases,” explains UMJ recording engineer, Shinobu Yamada. “We built this room as close to UMG studios in the US as possible, so we can demonstrate the potential of Dolby Atmos Music to artists and engineers.”

PMC has been a partner of UMG in the US for almost 15 years, providing Capitol Studios, Republic Studios and Western Studios in Los Angeles, 21fifteen Studios in Santa Monica, East Iris Studios in Nashville and Republic Studios in New York with a wide selection of PMC high-resolution monitors for both stereo and Dolby Atmos Music studios. The legendary Capitol Studio C was the first reference Dolby Atmos Music studio in the US and has been the blueprint for all other UMG studios since, including the new one at UMJ.

PMC’s Japanese distributor, Otaritec, has supplied UMJ with an 11.1.6 system comprising a pair of PMC IB2S XBD-AII twin cabinet active monitors as the main left and right speakers, with an IB2S-A for the centre speaker and four ci65 on-wall speakers for the side and wide surround channels and a further four for the overheads. At the back of the room, a pair of ci140 on-wall monitors, each featuring four 5-inch LTX long-throw woofers, provide the rear channels. Bottom end is handled by a pair of PMC 8-2 SUB subwoofers.

This is the first experience of working with PMC for Yamada, who started at UMJ in 2022 after an illustrious career including an early apprenticeship at Tokyo’s JVC Studios and a stint in Los Angeles,

L–R: Shinobu Yamada and PMC’s Dan Zimbelman

Otaritec has supplied UMJ with an 11.1.6 PMC system

followed by six years working in the studios of Japanese record company, Teichiku Entertainment. “The ci140 gives a lot of impact for the rear channels, and I was especially surprised with the IB2S-A monitors – they allow me to hear more detail in the low-end range,” he says. “The IB2S XBD-AII gives a tight and accurate low frequency down to under 30Hz, which I’ve never heard before. Most external engineers are surprised by the resolution of the low end. It also has a detailed and musical mid. We applied the bass management with a carefully selected crossover frequency and made some tweaks to compensate for the difference in phase response between the mains and surrounds so that we could have a smooth response between speakers, which gives a neutral spatial reproduction.” The studio layout itself hasn’t been changed, although new acoustic doors have been fitted, along with acoustic treatment including new baffles and absorption material fitted to the ceiling to meet the Dolby standards. In an adjacent isolation booth used for vocal tracking and instruments such as drums and guitars, the only changes are the addition of some wooden diffusers. A clever acoustic absorption panel conceals a window between the control

room and the recording booth; this can be removed during stereo recording to facilitate contact between the engineers and musicians and closed up for Dolby Atmos work, preventing reflections and distortions caused by the glass.

The Dolby Atmos Renderer runs on the same Mac Pro as Pro Tools, while an Avid Pro Tools MTRX matrix provides audio output for monitoring. For stereo recording, a Pro Tools HD I/O is used as a simpler interface, and existing outboard equipment can be wheeled into the mix position courtesy of an equipment rack

which UMJ has had specially constructed on casters. The rack is installed with classic compressors, EQs and mic preamps including models from Universal Audio, dbx and Focusrite. A good selection of vintage microphones including Neumann and Telefunken U47s and a Neumann U67 is available, alongside contemporary models. The studio’s existing Amphion and Yamaha NS10 speakers have been retained as nearfield stereo reference monitors, and a Grace Design M908 controls the monitors, from a stereo setup through to Dolby Atmos configuration.

UMJ employs several Dolby Atmos engineers who, as well as remixing the company’s back catalogue, have an important role in training up engineers working in the format for the first time. “Just as our UMG teams in the US and Europe have passed on their experience of the format to us so we can learn, we can then pass this knowledge on to engineers who come in to mix in Dolby Atmos,” says Yamada. “A lot of the bands’ engineers come in to do stereo recordings and Dolby Atmos mixes. For some of them, Dolby Atmos is new; if they’re going into it alone it can be difficult, but we can help them to understand the technical side of it. An engineer can easily understand how the sound can be moved around, but the difficult part is for this movement or placement to make sense within the music, especially if it’s a stereo track that’s already been released, that the listener is familiar with. It’s difficult to change it too much in Atmos. However, if they start with new tracks and mix stereo and Atmos at the same time, it’s easier to try out some new things in the Atmos mix.”

UMJ’s Dolby Atmos studio opened in March 2024 and has been busy ever since, mainly remastering the label’s back catalogue from the 1970s onwards, when Japanese pop music culture really became established in the country. “We’re refreshing these classic tracks and giving them a new lease of life,” says Yamada, revealing that, besides remastering Japanese artists, the new room was also used for a Dolby Atmos remix of Frank Sinatra’s final studio album, LA Is My Lady, as Larry Walsh, who has remastered much of Sinatra’s back catalogue, today resides in Tokyo.

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Outboard equipment can be wheeled into place for stereo recording

The window connecting the live booth to the control room can be covered when mixing in Dolby Atmos

A letter from Europe

Phil Ward examines how a charity single celebrating its 40th anniversary at Christmas 2024 has mapped the progression of music recording

IN THE 40 YEARS SINCE THE FIRST VERSION OF Do They Know It’s Christmas by Band Aid, everything has changed, and nothing has. On the surface, the evolution of produced sounds that morph the song through the decades provides a fascinating slice of recording history, and the comparison between the original and the subsequent versions speaks volumes. Below the surface, the depressingly unchanging need for something like this is balanced only by the continuity of goodwill that the industry is still capable of generating.

It begins in Midge Ure’s home studio in late 1984. The music tech of the day provides the framework: a looped sample of the drum intro to Tears For Fears’ The Hurting crunches into a monophonic and staccato bass line sequenced and quantised via MIDI. The synth pads swell and eventually “The clanging chimes of doom” in the lyric are represented by the unmistakable FM peal of a Yamaha DX7, possibly the single most distinctive sound of the record through all the years. This was taken into London’s Sarm West Studios the next day, normally available for £85 per day – waived, of course, by owner Trevor Horn. That’s about £350 a day now, but the

collapse in such rates led to huge changes in the London studio scene, although Sarm West survived until 2013 when the brand was relocated. Horn was present in 1984 to conduct the overdubbing of the famous chorus, before leaving Ure and Bob Geldof to drop in each solo contribution the old-fashioned way: rolling tape backwards and forwards and punching the record button.

Five years later, Pete Waterman’s riposte to Horn took the song into his PWL Studios in South London to use the hit factory’s own roster, Mike Stock having rebuilt Midge Ure’s blueprint out of the Stock Aitken Waterman house presets. For the 20th anniversary, Nigel Godrich – a reviver of classic analogue signal processing who was 14 in 1984 – rejected MIDI and gathered everyone as a band in a room together at George Martin’s Air Lyndurst, having nailed Paul McCartney on bass, which will always help you put a band together. Dizzie Rascal’s rap went down in one take and the product set new records for online sales while managing to be the last single to sell a million physical copies. “As a record producer,” said Godrich, “all you really do is try and make something that you would like”.

A letter from America

Paul Epworth’s 2014 take, one last hurrah at Sarm West after it closed, sounds enormous while fusing ambient with highly organic samples. “A bit like being an airline pilot with the cockpit wide open and all the passengers lining up to fly the plane,” he commented. This one was for the social media generation; more directly effective and widespread, versions were recorded in Germany and France too.

That brings us to this year’s Trevor Horn mega-mix, a straightforward cut-and-paste job in this age of drag-and-drop. (Amusingly, it couldn’t use the PWL version because “no one had the multitrack…”.) Today, a completely fresh version would be done remotely exploiting 5G’s super-fast studio interaction, so maybe dissipating the commitment. Pete Waterman certainly thinks the internet has recalibrated the signals. “Music makes people care but, with streaming, does it mean the same thing?” he queried. “With the originals you had to physically go out and make an effort to spend the money, so the gesture was far more powerful. We couldn’t do that now.”

Maybe not, but the Band Aid Charitable Trust continues to do something, white saviours or not. Do they know it’s crisis? Yes, we all do, because of it.

As the music industry scales even greater heights, Dan Daley remembers a time when mega-earning artists included compassion on their riders

ABOVE, MY COLLEAGUE PHIL WARD REMEMBERS LIVE Aid, the 1984 Ethiopian famine relief single. It was followed some months later by Band Aid: parallel concerts at Wembley Stadium in London and JFK Stadium in Philadelphia, the same year as the first Farm Aid in rural Illinois and a string of other charity-minded festivals that decade.

Forty years ago, the music industry had evolved from the youthful scruffiness of the 1960s. The proto-grunginess of UK skiffle and Midwest American garage bands had become polished into an efficient machine so reliably profitable that the cost of all the famously trashed hotel rooms could be absorbed by generous per-diem expenses. It was a business in which nine of every 10 artist signings could fail to return their investment while the 10th would not only recoup all 10 outlays but also turn a profit.

Small wonder then that by the 1980s, music had begun to grow a conscience as it entered its affluent adulthood. It was propelled, in unequal parts, by the native compassion of artistry – a sense of obligation that accompanies great success coupled with the embarrassing financial excess of the Ronald Reagan and Margaret Thatcher years – and a load of music money to fund newly developed charitable impulses

manifesting themselves on a grand scale throughout the decade. It even had its own theme song: We Are The World

However, even on that scale, these charitable efforts still retained a lot of the DIY ethos that made the music of those eras as durable as it has proven to be. A look at the production values of concerts of the period suggests a live sound sector just getting its footing as an industry, still taping a pair of Shure SM58s together on a stand to foil feedback before boxes could provide sound coverage of surgical precision.

Today, music has gone from scale to spectacle at a level that would stun even Ronnie and Maggie. Last year, Taylor Swift’s Eras tour sold more than US$2 billion in tickets – equivalent to the GDP of the small African kingdom of Lesotho. Live Aid’s $140 million haul helped feed millions of starving Africans; Swift tipped Eras’ lorry drivers $100,000 each. Eras was just the pinnacle of a trend that has seen performances become pageants. Meantime, the engines behind those productions continuously merge and combine to meet the ever-greater necessities of scale. For instance, Clair Global, bolstered with funds from a $71 million governmentbacked loan, is now one of the largest sound reinforcement providers in the world, a status achieved by acquiring

competitors including Eighth Day Sound, Britannia Row, Sound Image and ATK Audio.

That same dynamic is pushing up the price of those tickets, with the money chasing the most spectacular of spectacles. The result is evident in the decimation of the small, independent music venues that have historically been music’s incubators. That, in turn, compels ever-greater spectacle, which can be seen in venues like the immersive Sphere in Las Vegas and the virtual residency of ABBA Voyage. Most recently, music is combining with sport – the world’s single greatest moneymaker – to create even bigger spectacles. Beyoncé’s appearance at the halftime show of an NFL regularseason match in December overshadowed Kendrick Lamar’s Super Bowl gig two months before the rapper’s first note. A logical conclusion: the NFL and the Premier League merge with Universal and Sony Music, funded by KKR and Elon Musk and based in Riyadh?

Ever since the Romans staged chariot races and naval battles in the Colosseum, humanity has loved spectacles. The problem with pinnacles is there’s always a downside to the mountain. Altruism may not be as much in style as it once was in the current era of billion dollar music copyright deals, but it did build quite a legacy. It’d be worth a try again.

I‘M AN ARTIST

The NAMM Show 2025

A move to three days from four seemed to be the right decision; meanwhile, pro audio continued its steady ascent

SET AGAINST THE UNFORTUNATE BACKDROP OF wildfires that were ravaging northern Los Angeles, the 2025 NAMM Show returned to the Anaheim Convention Center (ACC) from 23–25 January. Serving as an annual gathering place for the music industry – and the only truly global exhibition uniting the MI, pro audio and entertainment technology communities –the NAMM Show welcomed an additional 250 exhibitors through its doors compared with last year’s iteration, and a slight bump in visitor attendance to 63,000.

Shortened to a three-day event in 2025, the exhibition has struggled to return to its pre-pandemic glory days of 100,000-plus visitors. NAMM president and CEO John Mlynczak was keen to note on the eve of the show, however, that the goal for 2025 was not only to increase the number of attendees, but to bring in the right kind of visitors. Many exhibitors agree that the make-up of attendees present at NAMM is one of the keys to its success. The other major draw in pre-pandemic times was its January timing. So, when the show returned to January last year, it seemingly set the exhibition on a trajectory for fortunes to turn back around. But there were still plenty of obstacles to overcome – a one-day gap between NAMM and the AV industry’s incredibly popular ISE exhibition in Barcelona, for example, stretching manufacturer resources to the bone.

That was no longer an issue this year, as the two exhibitions maintained a weeklong separation once again. However, the LA wildfires no doubt put a damper on festivities for locals, while a surging dollar combined with an increasingly turbulent political landscape left some exhibitors wondering whether NAMM could reach its goal of becoming a truly global exhibition. A slow start on the opening day added to the anxiety levels.

They needn’t have been worried, however. Those initial fears quickly subsided as the familiar cacophony of vibrant music and exuberant visitors returned to the aisles a couple of hours after show opening. And in stark contrast to last year’s lacklustre fourth day, crowds remained busy right up until the final hour of day three.

In general, the floor plan is once again growing, booths are

line array systems from TT+ Audio and d&b audiotechnik, along with column speakers from QSC and dBTechnologies. DPA Microphones also broke the news on the first day that it had acquired fellow microphone brand Austrian Audio, while both companies had standout launches with DPA’s CORE+ technology and Austrian Audio’s flagship large-diaphragm condenser microphone.

Loudspeaker manufacturers taking demos rooms on either side of the ACC North Hall’s Level 2 included Alcons, DAS Audio, d&b audiotechnik, dBTechnologies, EAW, Electro-Voice, LD Systems, L-Acoustics, Meyer Sound and QSC. All were swamped with listeners throughout the entire exhibition. But beyond decibels generated inside the acoustically isolated demo rooms, the subdued, more professional atmosphere in the ACC North Hall’s upper level was in stark contrast to the

installations and events requiring portable systems. We’ve launched the GTX 7C compact cardioid line array and GTS 16C subwoofer to fill this need. While NAMM is a musicians’ show, pro audio is getting bigger and bigger. We’ve seen some customers from North and South America, Australia and New Zealand, but almost no one from Europe, where it has been very expensive to attend this year in particular.”

energetic atmosphere down in the lower levels and throughout the traditional music halls.

While some questions still remain, the general sentiment on the show floor was that NAMM is now very much back to business after some turbulent post-pandemic years. All in all, it was a return to form.

2025 Dates: 23 – 25 January

2026 Dates: 22 – 24 January

Venue: Anaheim Convention Center

Total exhibitors: 1,850+

Attendance: 63,000

Contact: www.namm.org/thenammshow

come to the show this year with the highest expectations. Yes, the aisles up here on the top level of the North Hall are still very wide, but I must say, the number of people that we’ve met and the number that have come to the show has changed my opinion quite considerably. Right now, the show is about to close and looking around the hall it is still quite full. I think it was a make or break situation for NAMM, and if the show wasn’t up to par this year I would have seriously reconsidered coming back. But given the results we’ve had, we will be back next year.”

Sergio Alvarez, Shure: “We’re showing our Axient Digital PSM system for the first time here in the US, which is a product that customers have been wanting for some time. It’s a fully digital wireless system providing benefits like better audio quality and improved RF performance, and is also our first WMAS product. We also have new Nexadyne instrument microphones unveiled today which feature our Revonic dualtransducer technology. As a result, our booth has been really busy throughout the show and we’ve been excited to talk to as many people as we can.”

GTS

GTX

XPS

GTS 19G

From the show floor

it’s a welcome distraction. We’ve been contributing to a lot of charities who are helping people and studios that have been put out.”

Jodie Thorne, Prism Sound:

“What’s been good this year is the amount of attendance considering what’s been happening recently in Los Angeles – it’s been fantastic. We’ve had a very diverse group of individuals coming to see us ranging from independents through to major facilities who are looking at purchasing for major projects. But what’s also been very nice is the people that have actually been impacted by the disasters here in Los Angeles who’ve literally lost everything, but they’re still smiling and now looking at rebuilding. We’re working with those people and trying to help them out as much as we can, to rebuild not only their lives, but their facilities.”

Audrey Ensor, EAW:

“We took a different approach with our NAMM booth this year which seems to be working well – we didn’t go with a big demo room style but instead opted for a more relaxed approach with a large meeting room where we can conduct presentations. The key thing is to meet with people and get to know them. It seems a lot of companies are taking this more relaxed approach designing their booths. All in all, the show has gone

Ray van Straten, QSC:

“We’re proud to have won a NAMM Best in Show award for our new K Column portable loudspeaker. Our marketing tag for it is ‘Just Listen’, because while we can explain everything about it verbally, you need to experience it to ultimately decide if it’s right for you, so having an opportunity to experience it inside our demo room has

Joshua Rush, Audinate: “We’re huge supporters of NAMM but, from a manufacturer’s perspective, one of the challenges since we came back from the pandemic has been the overlap with other activities. In 2023, it overlapped with InfoComm and last year it was really close to ISE. This makes it hard for manufacturers to figure out where to put their staff and their gear. The fact we have a healthy gap this year is really great. A three-day show also feels just right. We’ve always had a strong relationship with NAMM on the training side and this year we did three full days of Dante training before the actual show

Lee Stevens, Adamson: from Australia to be we’ve had Australia, New Zealand, Korea

great to catch up with people all around the world. It’s my

and also hosted listening demos for our VGt and VGs line compact cardioid line array. It’s a small box with a lot of output and we’re doubling down on d&b’s commitment to well-behaved directivity on our loudspeaker systems. It’s a single-channel cardioid system, meaning it requires half as many amp channels as its bigger siblings, which also means smaller truck space, less power consumption and lighter weight. Last year’s NAMM was decidedly a step up in attendance, and this year seems even better again. It’s good to see that some of the music companies like Fender and Roland are back. I think that’s a good barometer for the health of the show.”

Javier Navarro, DAS Audio: “We launched our new medium-format line array system, MARA, at NAMM this year as the solution is much more relevant to NAMM customers than ISE. We’ve been showcasing it inside our demo room throughout the show and the reception has been really good. We came to this year’s NAMM with the same expectations as every year. This is a key event for us to meet people from the US and also South America, which is a very important market for our company. We’ve seen a lot of visitors from Central America and our representative for the Latin market, who lives here in Miami, has been very busy throughout.”

ISE 2025

ISE can be summed up in one word: unstoppable. More is definitely more when it comes

by some as a mini-LDI (US-based lighting tradeshow). Its new position, right opposite the audio contingent in Hall 7, gave live events a stronger presence this year. This was reinforced by the growing amount of loudspeaker manufacturers taking demo rooms to showcase mainly immersive systems, with more visitors making the long trek to Hall 8. This required a detour through the new Hall 8.1, home to the Esports Arena hosting live gaming events and broadcasting technology, as well as the Robotics and Drone Arena. Hall 1, meanwhile, was liberated for unified communications, residential, education and smart building technology.

Other new features included the Discovery Zone, a launchpad for emerging companies, and the AVIXA TV Studio which hosted live broadcasts and interviews with industry experts. The content programme included the newly introduced Track sessions on industry trends, jointly curated by AVIXA, CEDIA and ISE, while conference sessions also achieved record-breaking attendance.

AS WE WAITED IN THE PRESS ROOM AT ISE 2025 AT close of play to hear the official attendance figures, nobody needed confirmation that there had been a substantial increase. At 85,351, the unique visitors total was 15.5% higher than last year, beating even the busiest Amsterdam pre-Covid show figure (2019) by a good 4,000, with the amount of actual visits reaching a mindblowing 185,700 across the four days. However, most attendees, including our eight-strong Blank Canvas team, had been expecting an increase of this order all week judging by the time it was taking to cover the show floor – also expanded this year to 92,000m 2. Hall 3 was a particular challenge to navigate as mesmerising displays stopped crowds of visitors in their tracks but, frustrating as this sometimes was from a media coverage perspective, that’s the point of tradeshows, and there was certainly plenty to engage with throughout the halls and the new show features.

From the show floor

Despite prolific launches and upgrades, many exhibitors and visitors were confirming that ISE is becoming less about the actual products and more about solutions, collaborations, convergences and innovations. There was talk among manufacturers of more end user visitors than ever, with discussions about what they require out in the field feeding into R&D planning surely paving the way for future shows. ISE is certainly providing an invaluable platform for driving the industry forward, with the 2025 edition living up to its theme of Connection Restored “This week was a living example of connections restored –professionals coming together to learn from each other and experience the latest innovations,” said AVIXA president and CEO, David Labuskes, with ISE MD Mike Blackman adding: “ISE 2025 has surpassed all expectations, setting new milestones in both attendance and innovation.”

Lighting and staging had been moved from last year’s shared location of Hall 1 to the dedicated Hall 6, described

core DNA, and we continue to interact with the sports broadcasting community. Following the acquisition of MECSware, Riedel launched the Easy5G private 5G network solution and, together with our RefCam intercom solution for football referees, we have attracted many enthusiastic sports broadcasters and stadium designers. I have met many customers from APAC, the Middle East and Latin America. The sports agenda in Latin America has many upcoming events such as the 2027 FIFA Women’s World Cup, so those broadcasters are here requiring our solutions.”

An ISE roundup wouldn’t be complete without a mention of AI: although a strong buzzword, still in its infancy in most areas of AV. Digital analyst and author Brian Sollis’s keynote speech highlighted that, while the industry is recognising the effects that AI can have on automated programming and signage as well as the loss and creation of roles, it has the potential to change the landscape of pro AV and systems integration, creating brand-new technologies and opportunities rather than or instead of enhancing and replacing existing ones. He summed this up rather simply with a quote from late business professor Oren Harari: “The electric light did not come from the continuous improvement of candles.” Watch out for lightbulbs at future ISE shows.

2025 Dates: 4 – 7 February

thought Smart was just focused on education, coming to check out our new, more expansive business lineup. It’s been super busy. Hopefully we can return to the same spot in 2026.”

From the show floor

Vincent Eade, EditShare: first time; we normally exhibit at IBC and NAB and some local shows but, because we’re in other markets such as corporate and education, we thought ISE would be a great opportunity to touch base with these other verticals. From the point of view of corporate clients, they are coming to an AV show to see how they can expand communications within their company and how to share media; these are the type of people one may not meet at a broadcast-type show. We have seen prospects which we haven’t touched base with before.”

“It’s interesting because it’s a mix of many different audiences: people from the film and TV world who are difficult to find in other places, then the integrators, video and corporate visitors that have a connection with Astera because we’re not just focused on the stage. It’s a big show, a bit too big maybe as there’s uncertainty whether visitors will prepare a plan beforehand or will they miss us? But so far we’re very happy; this new lighting hall is great and we’ve been very busy seeing people from all around the world. ISE has also given the Spanish industry a forum to get together, and it connects us with the rest of the world. Globally, it’s the one show that understands the macro trends that are happening and brings the verticals together in one place.”

Phillipe Vitali, Analog Way: “I’ve been struck by how many more people I’ve seen this year. The two first days were absolutely amazing in terms of visitor numbers; there were crowds everywhere, not only at our booth but across the entire show floor. Most people come here with a purpose and many travelled some distance. Most are from Europe or the Middle East, but there’s also been more people from the US compared to previous years, and a very strong showing from Asia too.”

Julia Mannarino, 1 Sound: “Prior to exhibiting at ISE 2023, few people had heard of us outside the US, so this show has been instrumental to our growth outside North America. Demonstrating our loudspeakers on the booth helps to distinguish our high-fidelity audio capabilities and signature sound, and we premiered three new products. We received great reactions to the flush-mounted, point source L35 from our Level series together with the Monitor M35 and SUB28 Banquet subwoofer. This exhibition is all about strengthening relationships because our representatives from Indonesia, Japan, UAE and Saudi Arabia are also welcoming their own clients on our booth and demonstrating these speakers to them.”

Marc Lorenz, Ayrton: “Lighting moving to Hall 6 has been great for us as we have all our competition in the same space. It feels like lighting is becoming more a part of the show compared to last year when we were in Hall 1, which felt like a stop off on the way in or out of the show. It points out very well that that lighting has become a larger part of ISE and is a bigger topic here. Also, it’s been interesting to see that on the third day of the show, which normally tends to quieten down for us, we’ve had a lot of quality clients and people coming to the stand and engaging with us, including a lot of creatives, not just buyers or distributors.”

Philip Cooksey, Disguise: “ISE is growing and influencing the industry because it’s an opportunity for so many different types of technologies to showcase themselves. There’s so much diversity in what’s being offered which enables a cross-pollination of

Roger Harpum, EM Acoustics: “I was at the first ISE in 2004 when there were just 120 exhibitors and it’s impressive to see what the show has managed to achieve since then. It has a worldwide influence, bringing in people from lots of different markets, which enables you as a manufacturer to sell into the right areas, or establish new sales channels by making contact with new distributors. The attendance has been up again this year for EM Acoustics; prior to this year’s show our diary was full – a first for us. As a growing brand, we’re seeing the right type of engagement at the stand, whether it’s integrators or distributors.”

Anastasiia Trubnikova, Adam Hall Group: “ISE has become a very important show for the Adam Hall Group and it is now the show of the whole industry. We have two booths, one in Hall 7 for Adam Hall integrated systems where

From the show floor

“KV2 Audio has been showcasing several loudspeaker series in Hall 7, including the compact ESD Cube, EX28 dual 8-inch and ESR106 column speakers. We also invested in a demo room in Hall 8, where visitors can experience one of our six daily 45-minute sessions. Last year, we demonstrated on an outdoor stage, so this year’s indoor listening experience allows us to highlight our true sound reproduction philosophy, drawing audiences closer to the original source. This year we’ve focused on small to medium-sized systems and floor monitoring solutions. Both the booth and the demonstration room have been solidly packed since day one.”

year ISE has been very international, with lots of customers from South America because

also the Middle East, Africa and, less so, Asia. There haven’t been as many US people but maybe that’s because NAMM has just happened. It’s been busier and more global, and we’re seeing more engineers and end users this year, which is very interesting. It’s moving away from products and more towards solutions, and the different halls for verticals

“In addition to sports who require increasingly higher quality live video content, but with limited resources. The Quorum Cloud Meeting Control system has been a big draw as it can be used by operators who lack engineering skills to produce good content. We’ve also partnered with AVIXA, supplying our products to their virtual TV studio to provide a real-world scenario with live programmes, demonstrations, and workshops. Having relocated to Hall 4 we’ve attracted a slightly different audience; with ISE’s continued growth and expansion, Ross must consider the business opportunities arising in other vertical sectors including corporate.”

Scott Sugden, L-Acoustics (demo room): “This year we’ve got a larger, better-positioned space with 120 seats. We’ve had about 170 for every demo and we’ve had to turn people away from each one. Demo rooms never win projects but they open conversations. From a tradeshow investment point of view we have to show new leads created and I’m sure it’s going to be a big success. We’ve also had seminars where we’ve brought in industry experts to explain about using our immersive technology and present their art. We’re in a showbiz industry and it’s a shame if we don’t create

“As a first-time visitor to ISE I’m impressed by the scale of the show, the quality of exhibits and amount of attendees. It has a completely different flavour from US shows; it’s more international in terms of the approach of both the exhibitors and visitors. Manufacturers are paying attention to the fact that, as global designers, we have high-end projects all around the world, so instead of putting us with country representatives, we are seeing a centralised person focused on the technology we need. On a technical level we’re having direct contact with the manufacturers in a way I’ve never seen before. It’s very organised, to the point that we’ll exhibit next year.”

“Merging has been exhibiting at ISE for 12 years, but we’ve only been part of the Neumann.Berlin portfolio within Sennheiser for the past two-and-a-half years. This year, the three business units of Sennheiser are unified in Hall 3, dominated by the larger projection and LED companies. Initial concerns about this location were wrongly placed as we have been busy demonstrating Pyramix 15 and Ovation 11 to customers and systems integrators who normally do business in Halls 5 and 7. All the different industries converge at ISE, and this has become more advanced this year. We have reached a point where the relevance of other exhibitions must be questioned, despite regional shows making sense.”

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Finding a voice

AS ITALY CONTINUES TO FORGE AHEAD IN PROFESSIONAL audio transducer manufacturing, the Elettromedia Group is a relatively new kid on the block, despite almost four decades in business. Extending its business model from the design and production of car audio speakers to supplying OEM components for high-end pro audio and MI brands, the Lavoce brand has become a powerful and intelligent voice. Incepted in 1987 in Potenza Picena, the Elettromedia Group lies in the heart of the Marche region, where the Italian MI industry burst into life in the 1960s. The group introduced the Audison brand in 1988, following this up in 1998 with Hertz. Supplying premium technology for the automotive aftermarket, Audison addresses the high-performance premium sector, whereas Hertz aims for the younger car audio enthusiast.

More recently, the Hertz marine audio division was established, offering solutions for boat manufacturers and owners.

“Maintaining a balance is very important,” continues international sales director, Kevin Shove. “Our R&D team is designing premium performance products in Italy which are produced at our world-class visits the Elettromedia Group to find out more about the Lavoce Italiana brand

Joining the group in 2001, pro audio division manager Pierpaolo De Minicis has been instrumental in creating and fast-tracking Lavoce Italiana. “Product director Riccardo Abbatelli and I were tasked to address the professional audio market, leading to the foundation of the Lavoce pro audio division in 2008,” De Minicis explains. “For car audio, marine and professional audio markets, the design and manufacturing processes slightly differ, but the main processes and tools are the same. Our standard is to ensure a uniform quality within the brands.”

L–R: Audison international sales director Massimo Mezzadri with Lavoce’s Pierpaolo De Minicis and Kevin ShoveProduct director Riccardo Abbatelli

Research and innovation manager Lucio Bianchi

The Elettromedia Group lies in the heart of Italy’s Marche region

transducer manufacturing plant in China. From a logistical and costbased perspective, Lavoce is a very attractive proposition for sound system designers. Our focus on innovation, optimisation and new technologies means OEM customers benefit from enhanced speed and efficiencies. For our pro audio OEM partners, customisation is a vital service, from 1-inch high-frequency compression drivers to common magnet coaxials to 21-inch subwoofers.”

At the outset, the Elettromedia Group made a significant investment in an ISO9001-certified manufacturing plant in China in 2009. Located in Jiashan, near Shanghai, the 31,000m² facility includes operations, testing, sampling, QC and warehousing. Initially a joint venture, the now wholly owned subsidiary of Elettromedia employs 375 personnel. Five production lines balance semi-automated and manual assembly. One of the lines is dedicated to batches of smaller transducers, another two focus on smaller batch sizes of 12- to 15-inch drivers and 18- to 21-inch subwoofers, while there is a dedicated line for highfrequency compression drivers and soft dome tweeters. A new semiautomatic production line will further increase capacity and efficiency. All five production lines are carefully managed by preproduction and mass production procedures. A Production Management System (PMS) integrates computer-based Standard Operating Procedures (SOPs) with the technical specifications of all processes such as glue types, glue quantities and magnetisers to be used. With all aspects of production under control, data matrix codes on LF and HF products ensure full traceability of all parts and production.

The Lavoce brand was officially launched in 2012. An Italian R&D team of 15 research, electroacoustic and mechanical engineers focus on innovation, sound quality, product reliability and consistency of electroacoustic performance. Using the latest design validation tools, the R&D team works closely with partners to customise standard product platforms and create ground-up designs which often advance new technologies for catalogue products.

“Our main market for Lavoce OEM transducers is pro audio, but we’re also one of the main suppliers of bass guitar speakers,” explains Shove, “and because of our wide product portfolio for pro audio, our global distribution business, which mainly services the sound system and do-it-yourself markets, is very strong. This range of product platforms offers many opportunities to develop customised designs for OEM customers and, by solving their acoustic challenges, our R&D team can continually push the boundaries of product design.”

Adding efficiencies and accuracy to Lavoce’s design validation process, the research team has developed five proprietary FEM (Finite Element Method) applications within COMSOL Multiphysics modelling software which can simulate performance to within 5% of a physical prototype. The results of these applications can be viewed in a tailored graphical user interface (GUI) and compared with an unlimited number of virtual prototype results.

“The five simulation applications we have developed inside COMSOL have been incorporated into our daily workload activities since 2021, fast-tracking key design aspects of the loudspeaker performance including the voice coil, magnetic system, mechanical parts and vibratory behaviour,” says research and innovation manager, Lucio Bianchi. “The customised GUI greatly benefits our engineers during pre- and post-processing operations. Because we can guarantee accurate results, the software processes have sped up the development process for our engineers and customers.”

To aid the electroacoustic design of high-frequency compression drivers, the research team has also developed a “nonlinear” modelling technique which uses an elastoplastic model for moving parts and an acoustic model for phase plug channels, compression chamber and horn. Collectively, real-world frequency response and second harmonic distortion of a physical prototype can be predicted. By adding the development of “linear” modelling techniques, HF devices offering low distortion, linear frequency responses and the flexibility to perform equally well on various horn flares can be designed to tight deadlines.

The Elettromedia Group may not be able to change the laws of physics, but a continued focus on software algorithm development comes close. An example is the patented EVOCA Adaptive Loudspeaker Virtualisation technology, which can virtualise and protect loudspeaker systems, intended for OEM partners with customisable DSP development capability. The modification of LPM and cabinet parameters allows a variety of performance optimisations and the technology is then embedded into the product’s DSP. “Loudspeaker performance is generally bounded by the limits of physicality, weight and cost but, by using EVOCA virtualisation, we can impose the desired performance to a physical transducer with different performance parameters,” explains Bianchi. “This is accomplished when the system senses the state of the physical transducer and modifies the input signal according to the current state. Rather than being an equalisation point in the system, we can decide which curve to follow and continuously adapt to how a transducer performs at a certain time. For example, we can develop transducers with higher performance capabilities to perform in smaller than usual cabinets and limit ageing effects and changing parameters by controlling the transducer, so it has the same stiffness for the working life of the system.”

Lavoce’s approach to quality control reflects its ISO9001 certification. From audio and distortion analysers to scanning vibrometers, the in-process and finished product QC relies on Klippel equipment for recording and analysing critical electroacoustical parameters and functional aspects. “From dome tweeters to 21-inch subs, we have continually invested in Klippel measurement devices,” explains De Minicis. “We mirrored our Italian setup in China for

replicating measurements and transferring data before making samples. Once we have simulated the speakers in Italy, we transfer them to China for creating prototypes and conducting power

Combining automated and monitored testing systems, a purposearea includes dedicated rooms for power testing, life testing, operation control and test cabinet storage. A meteorology and testing laboratory houses testing equipment for specific product and material validation requirements including adhesives, damage prevention, environmental, humidity and temperature.

Purpose-built in 2019, an immersive sonic test room with a floating floor is used for research and listening tests. “To ensure listening tests are consistent and repeatable, our engineers conduct them in a controlled environment equipped with custom calibrated instruments,” comments product director Riccardo Abbatelli. To develop the North American market, a warehouse and operation opened in Nashville in 2022 to serve Lavoce pro audio and marine customers directly.

Prior to joining Elettromedia Group, De Minicis graduated from the engineering department of Ancona University in 2001 with car audio sales director Massimo Mezzadri. They are not alone, as Elettromedia Group has developed graduate programmes for more than two decades. “Our performance has been boosted by a good recruitment process,” says De Minicis. “Before we created the brand, the management tasked us to implement a more scientific approach to our product design, which has led to more proprietary tools within COMSOL and Fine App and patented technologies such as EVOCA being developed inhouse.”

Another graduate is the owner’s daughter, Agnese Pantaleone, with a master’s degree in acoustic engineering specialising in entrepreneurship and innovation management. “Together with my brother Marco, who manages the marine speaker division, we represent the second generation of the Elettromedia Group,” explains Pantaleone. “Since I was young, it was my intention to join the family business and help my father.”

In the role of go-to-market manager and acoustic engineer, Pantaleone leads a group of project managers overseeing the pro audio and marine speaker divisions. “We continue to innovate and make improvements to make Elettromedia a great place to work. To sustain the future of the group, we have made significant investments in our Italian headquarters. Scheduled to open in early 2026, we are currently building a 68,000m² manufacturing facility in China for all three divisions of the company.”

Lavoce may be more science than arts, but Abbatelli reminds his colleagues that musical emotion cannot be measured: “An essential part of our design validation process is to listen to the physical prototypes we produce, to fine-tune the driver to precisely meet customer needs, technically and sonically. The future growth of the brand is related to the real-world consumer demand in live concert attendance and the need to be entertained.” Initially confined to vehicles, Elettromedia Group has blended its knowledge with a large dose of innovation and more than a pinch of financial investment to create a winning formula for the pro audio market.

www.elettromedia.com www.lavocespeakers.com

Motor block assembly on the new semi-automatic Lavoce production line

Third block of the semi-automatic production line which requires just one operator to complete the motor

Using a mic array to measure a speaker’s acoustic performance in a semi-anechoic chamber

27 - 29 MAY 2025 | SINGAPORE EXPO

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d&b unveils new compact cardioid line array

The CCL System contains d&b’s signature cardioid directivity with a form factor designed for smaller venues and spaces

FORMING THE first product in the CL-Series, the CCL System (Compact Cardioid Line Array) has been unveiled by d&b audiotechnik. The system provides broadband directivity control with lowfrequency cardioid behaviour in a passive design, enabling single-channel amplifier operation, said to be an industry first in the compact line array category. The CCL features a revised implementation of a patented d&b design to bring the cardioid directivity and electroacoustic performance formerly only available in d&b SL-Series models to smaller, closer audience areas and a broader range of customers.

“d&b audiotechnik remains at the forefront of cardioid loudspeaker system design,” said Santiago Alcalá Baillie, product manager loudspeakers at d&b audiotechnik. “With the CCL we’re responding to market demand for a compact, lightweight system that brings the unparalleled benefits of cardioid technology to a broader spectrum of applications, making our flagship technical solutions accessible to a wider range of installations and events.”

solution for corporate rental, regional tours, festivals and larger events, where it can complement SL-Series arrays as side- or

At the heart of the system are two 7-inch front-firing drivers, two 5-inch side and rear drivers and two 1.75-inch high-frequency transducers with a completely new design. This approach combines low-frequency and broadband directivity control with high-frequency headroom and minimal distortion, “unmatched by anything else on the market”, according to the manufacturer.

in-fills. For permanent installations, the CCL System is most suited for theatres, auditoriums, houses of worship and acoustically challenging spaces, such as sports arenas or reverberant rooms. Complementing the system is the CCL-SUB, a flyable subwoofer available in both mobile and install versions.

The passive cardioid design features a front 15-inch and a rear 10-inch driver configuration. The CCL-SUB offers reduced port noise and extended usable bandwidth, particularly when deployed in mixed arrays with the CCL System.

www.dbaudio.com

BOSE PROFESSIONAL has released two AMU multi-use loudspeaker models – the AMU108-120 and AMU208-120 – as well as two mounting accessory options. The additions have been designed to provide wider coverage options while maintaining high-output sound.

The AMU108-120 features a constant directivity horn with a redesigned waveguide, delivering a wide and even 120° x 60° coverage. It is equipped with a Bose Professional LF8 8-inch woofer, producing 121dB peak SPL and a frequency response of 80Hz–16kHz. The larger AMU208-120 boasts the same 120° x 60° high-frequency coverage, combined with dual LF8 8-inch woofers. This configuration delivers a 126dB peak SPL and a frequency response of 70Hz–16kHz.

AMU Series mounting accessories also provide expanded installation possibilities and include a new pole adapter and suspension rail brackets, as well as stainless-steel U-brackets, surface-mount pan and tilt brackets, and singlepoint suspension brackets with multi-angle attachment points. All AMU Series loudspeakers come with a UV-resistant finish and an IP55 outdoor rating.

To further enhance the performance of AMU systems, users can incorporate the MB210-WR dual 10-inch weatherised subwoofer. Additionally, PowerShareX amplifiers also offer factory-optimised presets for peak-AMU performance and simplified installation.

www.boseprofessional.com

Lavoce extends its coaxial family

DESIGNED FOR high-powered permanent outdoor speaker applications, Lavoce Italiana has created an 8-inch common HF/LF magnet coaxial transducer. Adapted f r om the CSF082.00K, the CPF082.00K includes a corrosion-resistant ABS basket, a waterproof acoustically transparent dust cap and waterproof treatment on the front side of the cone and surround. The common motor magnet structure adopts components from Lavoce’s compression drivers and features a single magnet low-distortion “dual gap” motor utilising proprietary advanced linear modelling techniques. With a programme power handling of 400W and 95.5dB sensitivity for the LF, the HF section of the CPF082.00K has a programme power handling of 70W and 103.5dB sensitivity. The LF woofer uses a 2-inch edgewound copper voice coil on a glass fibre former and the polyimide diaphragm and surround employed for the HF uses a 1.4-inch copper-clad aluminium voice coil on a Kapton former. Operating within a frequency range of 90Hz–20kHz, the addition of two demodulating rings promotes low harmonic and intermodulation distortion.

FOLLOWING THE creation of the Atlas+Fyne brand in 2023, AtlasIED has added the IsoFlare FS Series of surface-mount loudspeakers to its growing portfolio. Based on point source technology, the manufacturer claims that FS’s harmonic alignment between highand low-frequency sources distinguishes

its design from standard discrete and coaxial offerings. Promoting integration with other IsoFlare surface-mount or inceiling loudspeakers, the IsoFlare driver exhibits optimal harmonic alignment between HF and LF sources.

Producing an even response throughout the listening area together with a constant time delay across the frequency spectrum, the IsoFlare driver propagates a spherical wavefront that is equally aligned across all axes. Ideal for 70V or 100V distributed applications, the FS features a 60W transformer so that the wattage tap selection and low-impedance bypass can be easily adjusted via a rearmounted slide selector switch.

Manufactured from ABS with a UV inhibitor for added durability, and finished in black or white, the minimalist design appeals to modern architectural practices. Equipped with advanced components including ferrofluid-cooled titanium HF drivers, weather-treated multifibre cones and high-current crossover components, the current IP56rated FS loudspeakers are available in 4-, 6- and 8-inch versions.

www.atlasied.com

Complementing the existing CAN (aluminium basket/neo) and CSF Series (steel basket/ ferrite), the CAF Series of common HF/LF magnet coaxials comprises aluminium baskets and ferrite HF/LF magnet motor structures. Featuring a single magnet lowdistortion “dual gap” motor, the CAF123.00T and CAF153.00T are 12- and 15-inch ferrite

coaxials that adopt their cones as horns with 80° nominal coverage.

with a frequency

woofers with 700W and 800W programme power handling respectively on and the HF with 160W programme power handling on a 3-inch edgewound copper-clad voice coil. Offering stability at low HF frequency to aid the design of passive crossovers, the HF assembly incorporates a titanium diaphragm with a polyimide surround. Sharing the same 12-inch specification, the CAF123.00TH adds a proprietary ABS horn and delivers a linear bandwidth dispersion with real 60° x 40° directivity for more specific point source system designs.

www.lavocespeakers.com

AUDIOFOCUS HAS launched the Edge series of lightweight, low-profile stage monitor loudspeakers for touring and live venues. The first two models in the range are the bi-amplified Edge 210M and the Edge 210Mx single-channel variant with passive crossover. Both models employ twin 10-inch LF transducers with Tetracoil double voice coils for “additional power, precise control, improved impulse response and superior handling of transients”. The models’ single 1.4-inch neodymium HF compression driver has a 2.4-inch diameter voice coil, loaded by a custom 3D printed ABS 70° x 50° waveguide for enhanced feedback resistance and consistent coverage across the listening plane.

The rugged birch plywood cabinet is a bass-reflex design incorporating a pair of

frequency range of 50Hz–18kHz and achieve a peak SPL of 135dB (Mtone 12dB crest factor with compression of 2dB average in the low section).

The speakers weigh 16.5kg, reportedly representing a saving of several kilograms compared to equivalent industry-standard wedge monitors. Their weight advantage and compact overall footprint are intended to appeal to rental companies seeking ease of transport, storage and setup. The chassis has a total vertical height of just 335mm, minimising its impact on sightlines between audience and performers.

Connectivity for both models is provided by in/link speakON connectors, which are side mounted to rationalise onstage cabling. Presets are offered for Audiofocus’s A series amplifiers and for Powersoft’s Armonía.

Adamson adds to the Vergence Group

ADAMSON HAS released the latest addition to its Vergence Group – the VGs – described as “a new benchmark in low-frequency performance for the most demanding scenarios”. The VGs is the second member of the Vergence Group and is a powered subwoofer built upon the foundation of the low-end range of the manufacturer’s E-Series E119 subwoofer, combined with a custom-designed and in-house manufactured, single-channel 6 k W Class-D amplifier with onboard DSP. Loaded with a single, lightweight, longexcursion 19-inch SD19 Kevlar neodymium driver using Adamson’s Advanced Cone Architecture and Symmetrical Drive

It has an onboard amplifier and weighs 72.5kg, delivering a peak output of 139dB. The VGs includes analogue audio connectivity as well as redundant and daisychainable Milan AVB plus comprehensive DSP assigned and modified via Adamson’s ArrayIntelligence software. Critically tuned presets allow the VGs to be deployed in a multitude of often-used cardioid arrangements, including front-back, frontback-front and end fire. A turnkey upgrade kit will be available for any existing E119 users to quickly and easily convert their inventory. Using the ArrayIntelligence software allows the VGs to be combined with the VGt as well as Adamson’s CS-Series, while the Adamson Bridge provides integration with all legacy ground-amplified systems. Features include “effortless” control, enhanced monitoring capabilities and streamlined deployments in both mobile and installation environments.

The manufacturer has also released Lake Library V6.0, bringing improvements designed to elevate system performance and simplify user workflow. This latest release introduces unified phase matching across products, ensuring seamless integration and compatibility, alongside a range of other updates. These include the revision of all existing linear phase presets, new linear phase presets for all passive S-Series and IS-Series point sources, IS7c presets and a revised limiter in all NH4 high-frequency presets for an improved performance.

www.adamson.ai

QSC unveils “K Column”

QSC HAS announced an expansion to the K Series with the introduction of the “K Column” KC12 active 3-way column loudspeaker. Offering 3,000W of active power, the KC12 blends the visual aesthetic of a column loudspeaker while reportedly surpassing the acoustic performance of conventional designs. Available in black and white and easy to deploy, it’s suitable for a wide range of customers and applications from solo entertainers, musicians and bands, mobile entertainers and DJs to corporate AV, event production and static installations.

The KC12 utilises a 3-way design featuring QSC’s patented LEAF waveguide first introduced in L Class active line array loudspeakers, combined with a 1-inch compression driver, two 4-inch midrange drivers and a high-output 12-inch subwoofer. The system produces a full-range horizontal coverage of 145° and 35° of vertical coverage with “clean” sound at all output levels.

The system features three inputs: a Bluetooth input combined with a 3.5mm TRS stereo input, as well as two combo XLR inputs with independent, assignable factory presets for each XLR input, making the solution ideal for small events where two microphones are needed for different uses. The rear panel incorporates a multifunction digital display, offering control and selection of several loudspeaker functions, including Global Parametric EQ, Subwoofer level, Presets and Scenes, Bluetooth configuration, Delay (maximum of 200ms) or Reverb. Bluetooth functionality also provides True Wireless Stereo (TWS), which ensures low-latency pairing between the music source and both left and right loudspeakers simultaneously.

Additionally, the KC12 can be deployed with or without its lower column pole, making the system ideally suited for a floor, riser or raised

“The KC12 resolves the form-over-function compromise that has frustrated users of this category of products since they made their market introduction over 20 years ago,” stated David Fuller, VP product development at QSC Audio. “With the benefit of time, experience, extensive customer research and cutting-edge innovation, our design team has truly created something very different from the status quo –not simply a differentiated product, but an overall better solution for the customer.”

APG, A brand of Arbane Groupe, has released its Uniline Max line array system, designed for large-scale events and concerts. The system features the UM210 double 10-inch line array speaker and the UM121 single 21-inch subwoofer. With rear and side handles for easy transport and a flexible rigging system that supports both tension and compression configurations, the system has been designed for use in any stage environment.

The Uniline Max comes with the patentpending Sigma waveguide, which reportedly ensures optimal coupling between speakers and maintains precise sound quality across diverse environments. Sigma enables integrators to design a speaker setup in any shape, without sacrificing acoustic performance across a wide range of coupling angles between speakers. It also allows the design of long-throw line source speaker

setups with low coupling angles or a constant curvature system with limited throw but significant coupling angles.

The UM121 subwoofer features a bass-reflex configuration at

www.qscaudio.com

CREATED BY renowned loudspeaker designer Hugh Sarvis, the BL18S is a high-power, passive subwoofer from Blaze Audio that completes the company’s CBL series. Designed primarily for free-standing installations, it features an 18-inch bass driver housed in a reflex-loaded enclosure

and delivers low-frequency bandwidth down to 31Hz at –10dB, with maximum sound pressure levels reaching 136dB at 1m.

Blaze Audio says the subwoofer integrates seamlessly with the CBL523 and CBL528 constant beamwidth loudspeakers to provide a complete, full-range audio

enabling its use below or alongside UM210 speakers.

Arbane Groupe has also launched its Audio Modular user Interface (AMI), a single and scalable control software spanning across the entire Arbane Groupe range of products (APG and Active Audio). Available for PC, Mac and tablet users, AMI’s multi-platform interface features a digital console-style layout, and is also compliant with ergonomic standards, responsive and optimised for touchscreen.

www.arbane-groupe.com

system that enhances sound quality and performance for small and medium-sized venues. For optimal performance, the manufacturer says the BL18S should be driven solely by its PowerZone Connect amplifiers, starting at 3,000W, and with the appropriate speaker presets configured. Multiple BL18S subwoofers can be installed in arrays and configured via amplifier presets to deliver either omnidirectional or cardioid directivity characteristics.

www.blaze-audio.com

LEA expands Cinema Digital Series

LEA PROFESSIONAL has extended its Cinema Digital Series of IoT-enabled smart amplifiers with the 1504 model. Featuring intelligent IT solutions, DSP and smart power management, the 4-channel CDS1504 drives 1,500W per channel into 2Ω, 4Ω and 8Ω in addition to 70V and 100V RMS. With wattages ranging from 350–1,500W per channel, each Cinema Digital Series model supports two or four channels. All models include AES67 primary and secondary inputs, analogue backup inputs and the ability to accept

AES67 feeds directly from a Dolby Cinema Processor CP950 without additional hardware. Controlled and managed remotely via LEA Professional’s SharkWare amplifier control software loaded with over 3,000 speaker tuning presets, the smart amplifiers feature onboard 96kHz DSP, LEA Cloud connectivity, WebUI, third-party API control, real-time load monitoring, Smart Power Bridge technology, event and fault monitoring, and high-efficiency power design.

www.leaprofessional.com

JOINING THE DP-4035i within the Pro DP series, the DP-8015i delivers 8x 150W across low-impedance (2–8Ω) and high-impedance (70V/100V) systems, and supports Bridge mode for up to 4x 300W at 4–16Ω. The front panel of the 1U amplifier includes a 1.8-inch colour display for quick editing and monitoring, in addition to LEDs indicating signal, clipping and protection statuses. The removable front grille provides access for maintenance. GPIO functionality enables remote On/Off control and linking capabilities. Protection features include overload, short-circuit, overtemperature and under-voltage safeguards. Housed in a 2U steel chassis, the DR4800 and DR6000 amplifiers respectively deliver 2,500W and 3,150W per channel in 4Ω mode. Rear panel connectivity is distinguished by XLR inputs together with Links and speakON outputs. Input sensitivity is adjustable (0.775V, 1V or 35dB), and both amplifiers operate within a wide frequency range of 20Hz–20kHz. With advanced cooling systems and protection circuits against short circuits and overheating, both Class-D amplifiers feature removable front grilles.

Designed to be combined with Wharfedale Pro’s DP-F and DP-N amplifiers, the XC Series

of system management controllers deliver both protection and enhanced definition to loudspeaker systems. Equipped with an extensive loudspeaker preset library, FIR filters and dynamics protection, the 4-in/4-out controllers are available with two interface options. The XC-44F and XC-44N versions are equipped with Ethernet and Dante connectivity respectively.

The Tourus family of polypropylene loudspeakers has been extended with eight active and passive 8-, 10-, 12- and 15-inch configurations. Each active model within the Tourus+ Series features 2-way biamped Class-D amplification, Bluetooth/ TWS connectivity and built-in FIR presets for different environments (normal, live, DJ, speech), providing flexibility and control over output. Finally, the WDG Series includes the passive WDG-12 and WDG-15 together with active WDG-A12 and WDG-A15 variants. Featuring Wharfedale Pro coaxial drivers and a spherical waveguide delivering 70° nominal coverage, the 12- and 15-inch coaxial wedges can be deployed in 25° far-field or 60° nearfield applications.

www.wharfedalepro.com

RDL interfaces with Dante

RDL HAS released a line of five singlegang Dante interfaces. The D SeriesRN22 and D Series-RN2ML are 2x2 wall-mounted, bidirectional mic/line Dante interfaces, the D Series-RN12 is a 1x2 wall-mounted, bidirectional mic/line Dante interface and the D Series-RN02 is a 0x2 wall-mounted Dante interface. The fifth member – the D Series-BTN21 wallmounted Bluetooth Dante interface – will be released soon.

The models come with a variety of features that are said to help with installation and configuration, including network control of gain, attenuation, phantom power and channel summing, and additional rear-panel inputs and outputs on detachable wiring blocks. The units are available in multiple

FOLLOWING CUSTOMER feedback asking for an 8-channel iD audio interface, Audient has extended its iD desktop interface range with the iD48. The 24-in/32-out USB-C audio interface builds on the core feature set of its siblings but with “enough I/O to handle any session”. It has been designed with producers and

Preamp altogether for a direct conversion path for recording.

The eight ultra-low noise, low-distortion Audient Console Mic Preamps deliver 68dB gain. As with the entire iD range, the discrete, high-grade op-amp design has the same circuitry as the ASP8024-HE recording console. In addition, 32-bit ESS

converter technology as well as the new Switchable Analogue Insert technology, the interface is said to make integrating outboard fast and intuitive. Switchable routing allows users to select which source is feeding the ADC path and lets them choose the Audient Console Mic Preamp or a DAW output to send to the outboard on a per channel basis. Customers can also bypass the Audient Mic

results in 126.5dB of dynamic range on the DACs. The option to add up to 16 channels of external mic preamps with the iD48 means that it can be expanded if needed. Fully compatible with the iD Mixer, the iD48 can be used to set up ultra-low-latency direct monitoring, create stereo cue mixes or save layout presets, all from one app.

www.audient.com

finishes including black, white and stainless steel. Custom labels can be created and ordered online. All the units are PoE powered and available in multiple finishes with optional customised graphics. To support the Dante interfaces, the manufacturer has also added two network remote controls: the D-NMC1R and D-NLC1R. These single-gang wall-mounted controllers allow end users to control a wide range of parameters using a simple rotary knob, including volume, presets, muting and Bluetooth settings. Visual feedback is provided through LEDs on the D-NLC1R or an integrated full-colour LCD display on the D-NMC1R.

rdlnet.com

Micro machines

ITS SMALLEST, simplest and sleekest wireless microphone to date, the Wireless Micro from RØDE is a pocket-sized microphone system tailor-made for smartphone creators. Available in black or white and with versions for either USB-C or Lightning devices, the slimline receiver connects directly to a phone with no need for cables for a compact and tidy recording setup. Meanwhile, the splashproof Wireless Micro transmitter weighs just 12g and features two ultra-compact, ultra-lightweight

magnetic attachments make it easy to mount while remaining discreet. Its built-in microphones are housed in acoustic chambers with a patent-pending design, purpose-built to capture clear and intelligible audio while mitigating wind noise.

Meanwhile, RØDE’s Intelligent GainAssist technology automatically controls audio levels to deliver balanced sound and mitigates the risk of accidentally ruining a take with clipped or quiet recordings. RØDE says this feature

More channels, less hardware Tuning

BOASTING PATENTED technology, the MV7i smart microphone and interface from Shure enables users to connect an additional XLR mic or instrument directly for 2-channel recording, without requiring a separate audio interface. Designed to simplify the way creators record audio, the unit’s built-in interface lets users connect a second microphone or instrument directly into the MV7i, and then control both channels of audio either in Shure’s MOTIV apps through a computer or device, or with a DAW and app. With the same sound signature as Shure’s MV7+, its DSP engine ensures studio-quality sound on both channels, minimising production setup and enabling creators to adjust the DSP setting on each of the MV7i’s two channels independently.

Inspired by Shure’s SM7B, the MV7i’s design has a metal chassis and its built-in

SOUND DEVICES has launched the A20-HH digital wireless handheld microphone.

I t c omes with a 470–1,525MHz global tuning range and a reversible A20-HH CD1 capsule collar, which accepts multiple manufacturers’ capsules that use a Shure or Sennheiser thread, as well as Sound Devices’ own CD1 cardioid capsule. The A20-HH control ring is described as easy to swap out and gives the user optional external controls – one or three buttons or a slide switch – while the base unit has no controls on the outside to prevent accidental button pushes.

they have in audio. A pocket-sized charging case delivers two full recharges for up to 21 hours of battery life, while keeping the system safe and

Meanwhile, the manufacturer has also unveiled the third generation of the Wireless GO microphone platform. It features 32-bit float onboard recording, intelligent GainAssist technology and a host of new features. For the first time in the history of the RØDE Wireless range, the Wireless GO is available in an expansive suite of limited-edition colours, as well as black and white. The Wireless GO (Gen 3) is a dual-channel compact wireless microphone system, utilising RØDE’s Series IV 2.4GHz digital transmission with 128-bit encryption for audio at ranges up to 260m (line of sight). It also boasts over 40 hours of 32-bit float onboard recording for the recovery of clipped or quiet audio files.

with cameras, smartphones and computers, and, it terms of security, it includes locking lavalier connectors for peace of mind.

The third-generation unit also leverages headphone monitoring with onboard level control and automatic plugin power detect for extended battery life. It can be set up on a smartphone or computer via RØDE Central and it is compatible with all RØDE Series IV devices, including RØDEcaster Pro II and Duo, RØDECaster Video, Wireless PRO and Interview PRO.

RØDE is also releasing a dedicated charging and travel case accessory – the Charge Case+. This is a compact case for the Wireless GO (Gen 3), designed to keep the entire system safe and secure when storing or taking it out on the road.

www.rode.com

combo XLR and ¼-inch input enables users to connect a second microphone or instrument with 60dB gain and 48V phantom power, making it compatible with both dynamic and condenser mics.

The MV7i instantly detects input type and automatically selects and applies the appropriate DSP for the recording application.

compatibility with Mac, Windows and select mobile devices, and it is MFicertified for iPhone and iPad use.

Additionally, the colourcustomisable LED touchpanel provides intuitive mute control and a dual-channel LED display to help simplify adjustments during recordings and livestreams. Additional features

Mode with SmartGate technology that automatically calibrates gain based on proximity, volume and room dynamics. Meanwhile, SmartGate dynamically reduces the volume of a channel when either of the two users falls silent, minimising crosstalk and guaranteeing that concurrent conversations do not disrupt the separate audio streams. A Real-Time Denoiser reduces ambient noise, while a Digital Popper Stopper removes plosive sounds without a physical pop screen.

Shure has also introduced the MOTIV Mix Desktop App, enabling users to customise the LED panel, provide access to up to five multitrack recording and routing channels, and fine-tune settings like sound signature and gain. Mixdown, Multi-Track and Stereo output configurations are all available from launch.

www.shure.com

microphone. It also includes an e-Paper display that shows mic and battery status, even in full sunlight and while powered down. The mic’s patented wideband RocketAntenna design means that users can grab the mic anywhere without losing signal. The A20-HH is water-resistant, can reportedly survive multiple drops and is powered by a standard XL-B18650 lithiumion battery that can run more than 10 hours when the microphone is set at 10mW output.

www.sounddevices.com

Wireless GO (Gen 3)

Wireless Micro

Dynamic to the CORE

DPA MICROPHONES’

is a patent-pending development that aims to set a new standard for distortionfree microphone sound by eliminating the non-linearities typically generated by the membrane and electronic components of a microphone. The CORE+ neutralises distortion across the entire dynamic range of the microphone, making any residual noise imperceptible and virtually unmeasurable in both recorded and amplified content. It also reduces the impact of unpredictable challenges in live sound environments, such as when the talent speaks or sings at louder volumes.

The implementation of the CORE+ requires a redesign of DPA microphones, which the company plans to accomplish with an updated roll-out across its portfolio. The first to be addressed are the 5mm omnidirectional headsets and lavaliers, including the 4060, 4061, 4071, 4661, 4066, 4266 and 4466. All DPA microphones incorporating CORE+ will retain the same microphone specifications, including dynamic range and noise level. To illustrate the advantages of the diminished distortion, DPA has implemented a new THD performance reference point – THD <0.5%. As all DPA microphones share the same sonic characteristics, current users will be able to mix the enhanced CORE+ solutions with their existing equipment.

The versatile MicroLock is a compact locking microphone connector which builds on the strengths of the company’s established MicroDot connector. Delivering a quick and secure connection, the MicroLock locking mechanism provides an extra layer of

Centralised control

improved electrical design offers enhanced stability and reliability of the signal. Compatible with a variety of wireless systems, DPA says the MicroLock makes it easier to switch to a new wireless system without having to replace microphones. The company hopes this versatility will be especially beneficial for AV rental companies as it allows them to rent out the same microphone fleet across a variety of wireless

DPA will introduce the MicroLock connector with its omnidirectional miniature microphones and passive adapters, followed by the cardioid variants. It is fully backwards compatible with existing MicroDot products.

HOLLYLAND HAS unveiled the 6th generation of its Lark Series.

The LARK M2S ultra-mini wireless microphone can be easily concealed into any outfit and comes with a 30-hour battery life and a 300m wireless transmission range, as well as Environmental Noise Cancellation (ENC) features. It has been designed for videographers, video content creators, filmmakers, vloggers, online livestreamers.

wireless microphones. Professional built-in audio DSP enhances the audio performance for both local and remote audio. The COMMIC-HUB is intended to provide a high-quality audio experience for users by combining with microphones and speakers.

The APO-DG-HDMI expands connectivity options by enabling the HDMI output of a laptop to work seamlessly with the manufacturer’s USB-C Casting Dongles (APO-DG1 and APO-DG2). This enhancement allows for greater device compatibility across both the Synergy and Apollo product lines. Supporting DisplayPort Alt Mode 1.2 and featuring a USB-A port, the APO-DG-HDMI facilitates the transmission of up to 4K resolution at 60Hz, as well as USB 2.0 data, to compatible devices.

clean, connected and productive. It

The NHD-120-RX-S is said to take the 100 series to a new level. This “S” model has been treated with Sealoc’s Weatherloc technology to resist the elements such as water, moisture, humidity, dust, saltfog, salt-air and acidic products. With 4K resolution, video transmissions use up to 6x less bandwidth. AV streams are fully secure over the network using AES128-bit encryption methods, ensuring any sensitive data cannot be maliciously accessed.

The built-in microphone measures 1.3cm x 0.63cm and weighs 7g. The transmitter has a titanium alloy clip, which holds it securely in place. Whether users are jumping, running or performing energetic movements, the mic has been designed to stay firmly in place. The titanium alloy construction reportedly provides strength and durability while remaining lightweight

Finally, the SYN-CTL-HUB protocol converter has been designed to integrate with the Touch10 control pad, enabling the conversion of IP protocols to RS-232, Relay and IR protocols over a wired LAN. It offers control capabilities for various AV and automation devices while providing contact input detection and remote-control options via a network connection. The converter features a contact input for sensor-triggered automation, enhancing integration flexibility.

In brief, v2 versions of the NHD-500-TX and NHD-500-RX are now available, bringing an additional Ethernet port that can be used on the Dante AV-A network or for getting the local device on the network.

The NHD-500-TX v2 comes with an HDMI loop-out for local

The LARK M2S boasts a sample rate of up to 24-bit/48kHz, a 70dB signal-to-noise ratio (SNR) and 2.4GHz transmission, capturing clear, articulate and natural human voices. The mic’s ENC minimises background noise, ensuring voices stay prominent. The new dial design in the Combo version makes it easy to access power, pairing, mute and volume controls, with options for high, medium and low levels. The LARK M2S is available in three versions: Combo (Duo), Mini Combo (Duo) and USB-C (Duo). With the LarkSound App, users can check audio settings, volume levels, noise reduction and battery life.

www.hollyland.com

protection against accidental disconnection

CORE+

MicroLock

Freedom to Roam

DEVELOPED ESPECIALLY for musicians working in live sound, the Galaxy Audio ASD-700 plug-and-play digital UHF wireless in-ear monitor system is small enough to fit in a pocket yet powerful enough to deliver a personal mix for a full touring band. Designed for live sound gigs, the ASD-700 allows musicians to move freely around the stage without the need for wires or the bulkiness of heavy monitors. The ultracompact wireless IEM system has 15 UHF channels and over 45m of operating range. It delivers 24-bit/48kHz resolution, has up

New drivers please!

GERMAN AUDIO manufacturer beyerdynamic has updated two of its premium studio headphones with the adoption of its TESLA.45 driver. The closed-back DT 1770 PRO MKII and the open-backed DT 1990 PRO MKII are secondgeneration designs created for hours of use in the studio, and now incorporate a fontanelle recess to avoid potentially painsensitive areas on the head. Thanks to the closed-back design, beyerdynamic says the DT 1770 PRO MKII headphones are better suited for recording, monitoring and editing, with a deep bass, transparent mids and detailed highs. Meanwhile, the DT 1990 PRO MKII offers a more natural, spatial sound quality due to its open-back design, and is ideal for professional mixing, mastering and

its structurally optimised diaphragm delivers a noticeable improvement to the total harmonic distortion and the impulse behaviour, producing a clearer sound even at high volumes. Meanwhile, the diaphragm made of high-performance polymer PEEK ensures precise bass reproduction. The refined treblefrequency profile is achieved by a weightreduced voice coil made of aluminium-coated copper wire.

Compared to the previous models, beyerdynamic says the highs at around 8kHz have been reduced while retaining the detailed highs from 10kHz of their predecessors. With an impedance of 30W, both studio headphones deliver studio sound on different devices. They are supplied with a 3m

MARKING A shift from the traditional “paddle” antennas, RF Venue has introduced its IP-rated circularly polarised (CP) antenna for wireless IEM and microphone systems.

Building on the success of the manufacturer’s CP Beam helical and CP Architectural installation antenna, the CP Stage has been designed for wireless IEMs and, as a diversity pair, captures wireless microphone signals in varying environments. Engineered for durability in a low-profile enclosure, the solution efficiently mounts to microphone stands, making it ideal for touring bands and fly packs. Its IP-rated weather resistance also suits fixed outdoor installations when wall-mounted.

Turning a new page

THE TALK 8 is a digital desktop paging station designed for multi-zoned commercial audio systems that provides individual and multiple zone paging. With six instant message replay buttons, Optimal Audio’s cross platform WebApp for Zone series enables any content stored on its 4Gb of in-built memory to be assigned to playback buttons or scheduled for automatic playback as part of a time-of-day routine. The Talk 8 also integrates with the wider Optimal Audio ecosystem, including support for up to two digital paging stations working in tandem with Zone controllers. Supplied with a Mic 1 gooseneck microphone, the Talk 8 is

to eight hours of battery life and is USB-C rechargeable. The system also includes high-definition earbuds, an XLRM to ¼-inch adapter, a soft-shell hard case and is backed by Galaxy Audio’s three-year warranty. Options include the ASD-700-2 twin pack with two receivers and one transmitter, or the ASD-700-4 band pack system with four receivers and one transmitter, providing multiple performers a shared monitor mix. An unlimited number of receivers may be added at any time.

www.galaxyaudio.com

Unlike the single-plane orientation of “paddle” or “fin” antennas, CP antennas transmit and receive signals in a 360° or “corkscrew”-like pattern, eliminating issues with the orientation of wireless IEM bodypack receiving antennas and handheld microphone transmitters, regardless of how a performer moves and changes position onstage. Featuring a 470–928MHz operating range, the CP Stage keeps performing across global frequencies in a compact 25cm x 30cm x 2.5cm footprint with a matte black finish.

powered via a locking RJ45 connector from the Zone controller paging port and has a USB-C interface for loading audio files and firmware updates. It also features a backlit Talk button with latching and non-latching options, and an optional preannouncement chime.

The Mic 1 is a 12-inch gooseneck microphone for making clear announcements and communications. Included with the Talk 8, the Mic 1 can also be purchased separately if required. Weighing less than 250g, the 318mm-long cardioid gooseneck features a 3-pin XLR plug connection and operates within a 50Hz–18kHz frequency range.

The CP Stage antenna is individually available as well as bundled with relevant cabling and combiner hardware in multichannel upgrade packs.

The manufacturer has also extended its ecosystem with the ZonePad 8. Designed for simplicity of use, the dedicated wallmounted venue touchscreen serves as a source and zone control panel. Capable of being supplemented with ZonePad 1 or ZonePad 4 units, the ZonePad 8 can also be teamed with WebApp when access to the Optimal Audio system controls is required.

Designed to enhance the LF performance of the Optimal Audio loudspeaker range, the Sub 18 is a passive, 18-inch subwoofer. Housed in a plywood bass-reflex cabinet, it is fitted with an 18-inch driver that can attain a peak SPL of 136dB. Flexibility of use has been extended with integral M8 inserts for flying the compact cabinet.

optimal-audio.co.uk

Talk 8 with Mic 1

Staying connected to the great outdoors

SPECIFICALLY DESIGNED to extend performance capabilities and safety in outdoor applications, Neutrik’s powerCON TRUE1 TOP (True Outdoor Protection) single phase power connector has a robust design created for use in a range of high-pressure outdoor environments. Featuring a latched fast locking mechanism that prevents the connector from being accidentally detached, the ability to plug in under load and Neutrik’s bushing and strain relief, the powerCON TRUE1 TOP cable connectors

with locking bushing and strain relief for cable diameters from 6–12mm and 10–16mm, respectively.

The manufacturer has also extended its etherCON TOP product offering to meet the demands of data networking in the field and address feedback from customers. The NE8MXR-B-TOP retractable RJ45 carrier cable connector delivers the environmental protection of etherCON TOP with the capability to mate with etherCON and standard RJ45 receptacles through a simple retraction of the shell,

Channel talk

STUDIO TECHNOLOGIES has unveiled the Model 352A and Model 354A talk

available in TRUE1-S and TRUE1-L variants,

www.neutrikgroup.com

THE DEMAND for products capable of integrating several services in a single cable has started to grow again, in particular combi products that are made up of one or more cables for digital audio and DMX protocol with power. This solution can be adopted in a variety of operational applications, including wiring active loudspeakers and managing moving heads.

as a standalone 2-channel IFB (talent cue) master station. The Model 354A can

of the two Dante receiver (input) channels on the Model 352A and one of the four Dante receiver (input) channels on the Model 354A to be routed as desired to a connected amplifier or amplified speaker. For theatre or event-space applications, the units can be located in a box office or manager’s office location. Two pre-recorded messages can be stored and played as required. For broadcast applications, the Model 352A can serve

associated with a pushbutton switch. This allows users to observe the on or off status of call signals that may be associated with intercom audio channels. In addition, this function can be used to display when a channel is active. This allows multiple units to be deployed in a single application, with each unit displaying the talk status of all the others.

www.studio-tech.com

Italian cable manufacturer Tasker offers a wide range of pre-made solutions, starting with the C283 soft series with a single 3x1.5mm² DMX power-integrated cable with Neutrik XLR NC3M/FXX-B and powerCON NAC3M/FX-W-TOP connections. The cable can be supplied in 1m, 2m and other custom lengths.

The C284 soft and C290 soft pre-made series both come with two DMX cables, the same Neutrik connectors as the C283 series and a power supply of 3x1.5mm 2 and 3x2.5mm² respectively. These models come with a soft PVC sheath but there are a variety of different types of outer sheaths available on request.

www.tasker.it

WARM AUDIO has introduced the WA76-D and WA76-D2 discrete FET compressors delivering classic “Rev D” clean gain compression, along with the WA76-A and WA76-A2 discrete FET compressors delivering the iconic “Blue Stripe” vintagevoiced compression. Consisting of custom transformers from CineMag USA and with added modern controls to achieve parallel compression, active and true bypass, selectable input impedance and sidechain flexibility, the WA76 series units have been developed for modern recording workflows that require vintage tone shaping.

The WA76-D and WA76-D2 are faithful recreations of the vintage 76 “Revision-Dstyle” FET studio compressor, with a true-tooriginal circuit design that delivers the lauded “D-style” compression known for its speed, lower noise and rich analogue tone. They use premium ceramic and electrolytic capacitors, metal film resistors and a revised preamp

stage, improving the linear response of the FET.

The WA76-A and WA76-A2 are faithful recreations of the vintage 76 “blue stripe”style FET studio compression known for its extra “grabby” fast attack and vintage analogue grit. They use premium poly film capacitors, premium resistors and a vintagevoiced preamp stage.

Each compressor features all the traditional controls such as attack, release, ratio, input, output and meter display. The models also feature stereo linking, dry/wet mix for parallel compression, external sidechain, selectable input impedance to match with classic analogue gear and modern interface connections, multiple active bypass options in addition to true bypass and a variable sidechain high-pass filter to tackle unruly bass that dominates the compressor’s attention.

www.warmaudio.com

Flexible routing and processing

NST AUDIO describes the DM88 as its most versatile, technically advanced system processor but with straightforward operation. It is equally suited to FOH duties as a versatile system manager and console switcher, or installed as the hub of a complex installation system. The DM88 incorporates what the manufacturer believes to be the best quality audio conversion and

EQ layers, FIR filtering and a new 2-way mode limiter, designed for use with passive 2-way speaker boxes. By allowing any source to be directly selected at any output, and incorporating a 3-level failover system, the DM88 can perform format conversion and break-in/break-out duties. This is in addition to the 16 channels of individual signal processing and routing.

In the dock

HDMI, two USB-C 3.2, three USB Type-A, one SD, one Micro SD, one Ethernet and one audio jack. It supports resolutions of up to 8K on a single monitor or TV, and 4K on dual screens, making it ideal for office professionals and content creators – such as video editors and music producers – who might also benefit from its SD card slot, high-speed USB transfers and HDMI output for multitasking.

Apple M1/M2/M3 chips and features a plugand-play design compatible with operating systems including Windows, macOS, iOS, iPadOS and Android. The UH3240 allows users to connect a USB-C host and dual 4K monitors, giving them the flexibility to master their workstation with enhanced functionality and streamlined workflows.

www.aten.com

Audinate adds to Dante catalogue

DANTE STUDIO v2.6 software and Dante AV-H v1.5 technology have been released by Audinate. Both updates, now available for download, support multichannel video with up to four video Rx channels, delivering enhanced control and functionality to meet the growing demand for versatile AV solutions.

Dante Studio v2.6 brings Dante video directly to PCs, eliminating the need for extra hardware like capture cards. This release allows operators, video producers and AV managers to receive and manage up to four Dante AV-H video streams, making it easier to capture multiple angles in events, meetings or presentations. Users can adjust video resolution between 720p, 1080p and 4K, tailoring video quality to meet specific project or customer needs, whether streaming in HD or delivering 4K content.

and eight AES inputs, all available to be matrixed to one of 16 processing channels, optimised for either general input processing or for more specialised output speaker processing. General input processing features multiple layers of parametric EQ with a library of selectable behaviours, three bands of dynamic EQ, compression, high-pass filter plus delay and phase reverse. Specialised output processing includes 48dB/Oct high- and low-pass filters, multiple

Mac and iPad is said to give users complete control over Ethernet and Wi-Fi. The latest release of D-Net incorporates advanced features that unlock the capabilities of the DM88. These include speaker module libraries for fast configuration, along with grouping and linking control to work with EQ layers, levels and delays across multiple devices on the network.

www.nstaudio.com

The Dante AV-H v1.5 release with four video Rx channels enables Dante AV-H to be built into new product categories like multichannel decoders, video switchers, vision mixers and multiviewers. This functionality enables seamless real-time video transitions, which are ideal for a variety of verticals within the pro AV industry. The firmware update is available to all Dante AV-H devices. Automated camera switching in conferencing and educational environments can be achieved by using positional data from Dante-enabled ceiling microphones, ensuring precise alignment with the active participant. Operators can switch smoothly between multiple video sources, such as cameras and computers, in real time, with support for multichannel viewers that allow simultaneous monitoring of all feeds for easy issue detection, switch timing and quality control.

www.audinate.com

Stage Precision announces SP Grid

STAGE PRECISION has launched SP Grid, a no-code or low-code platform aimed at streamlining workflows used in virtual production, live entertainment and AV installations. The solution transitions the company’s core offering from a standalone software product to a comprehensive application building, 3D data management, control hub, automation and interactive technologies integration platform.

SP Grid provides users of all skill levels with the tools to build AVLM projects of varying complexities and sizes. It scales to fit any project, from small-scale setups using LiDAR sensors and touch tablets to comprehensive full building system control. The platform has been designed to empower systems integrators, designers and developers to craft tailored solutions for spaces, studios and event environments.

Featuring a drag-and-drop interface, the platform enables users to visualise system interconnections, calibrate sensors and devices,

and establish workflow automation with ease.

A key feature includes the ability to design and deploy custom user interfaces. A future expansion will bring import options from UI design tools such as Figma, offering an alternative to legacy AV control systems.

SP Grid’s open API and integration capabilities allow for connection with existing systems, while its support for Python scripting and custom plugin creation enables users to develop bespoke integrations. To enhance the platform even further, a new custom-designed 1U server and touchpanel will be available.

Ensuring accessibility, SP Grid Studio is available free of charge for small applications, with additional features and device connections available via a unique credit system for larger projects. As more devices are connected, users can purchase credits to scale their use of SP Grid as their project grows in complexity.

www.stageprecision.com

The object of One’s affection

VERSION 1.3 of Fulcrum Acoustic’s One software delivers enhancements for object-based mixing, active bass control and loudspeaker steering. Based on user feedback and the growing requirements of its customers, object-based mixing improvements include support for 2D and 3D speaker arrangements along with additional rendering controls to bring spatial audio systems into loudspeaker layouts and venues of all shapes and sizes. Users can accommodate unconventional loudspeaker designs or different sound sources in a cohesive

mixing environment, fine-tuning each element for optimal musicality.

One 1.3 also includes support for Fulcrum’s Active Bass Control, which uses dedicated “control” subwoofers paired with a Venueflex processor to minimise unwanted lowfrequency issues. Fulcrum’s automated calibration process can also be controlled through the One software, while the update also brings DSP loudspeaker optimisation, including steering capabilities for Fulcrum Acoustic’s AHS loudspeakers.

www.fulcrum-acoustic.com

Just Add Power AMP supports Luxul SW Series switches

JUST ADD Power has announced its Advanced Matrix Programmer (AMP) configuration software supports the full lineup of Luxul SW Series managed PoE+ AV switches. The AMP software platform provides configuration for systems using MaxColor 4K60 Series devices, as well as those from the company’s 3G Ultra and legacy 2G Omega product lines.

Designed for AV-over-IP (AVoIP) applications, the Luxul SW Series switch family introduces a refreshed user interface with a streamlined setup process. The SW Series includes eight managed switches that can manage any AVoIP infrastructure with enough PoE+ to power many network devices. All eight models feature powerful PoE+ budgets ranging from 130–740W and come in a variety of port counts, from eight up to 48 PoE+ ports, with rear and front port orientation options. Luxul SW Series managed PoE+ AV gigabit switches feature an updated UI that simplifies setup and offers improved support for AVoIP installations.

Just Add Power’s AMP consolidates and streamlines the process of setting up individual Just Add Power devices. By discovering them on the local network, the devices are presented in a list, where they can be named, with IP addresses configured and channels assigned to transmitters. With support for Luxul’s SW Series switch family, AMP sets up both the individual Just Add Power devices and the Luxul SW Series network switch. Once the Just Add Power system is configured, AMP also provides a user interface that can be used to control source switching. Meanwhile, the manufacturer has introduced the MC-USB, with two USB-C 2.0 ports on the front, one USB-C 2.0 on the back and two USB-A 2.0 on the front, all integrated into the system over 1Gb LAN. Compatible with Just Add Power’s MaxColor series, the MC-USB provides access to all computers on the system with built-in keyboard, video and mouse (KVM) support, including touchscreen and webcam interface.

www.justaddpower.com

Energy the smart way

WAVES AUDIO has released its IDX Intelligent Dynamics plugin. The smart, frequencydependent compressor has been designed to optimise a track’s energy and vitalise the mix, making it easier to achieve a polished sound. For optimal results, users should insert the IDX at the beginning of a plugin chain and/or across multiple tracks. This will set a solid foundation on which to build the rest of the mix as IDX can be effectively used on a master bus. Whether sounds feel flat or lack that extra punch, IDX intelligently optimises energy levels, applying precise processing where needed. Vocals come forward without compromising the crispness of drum transients, while basses become punchy and well-defined. IDX employs a smart algorithm that automatically identifies the busiest areas of the frequency range – those that consume energy without enhancing the tone of instruments or vocals. It then compresses them by using “progressive attenuation” (unlike a traditional compressor, which uniformly reduces the signal RMS above

FOLLOWING THE launch of 360° Link V1, Solid State Logic continues to update its SSL 360° platform with the SSL 360° Link Bus Compressor Plug-in and Link V1.1 update in the latest SSL 360° V1.8 software, which is available free of charge via the SSL website.

The 360° Link Bus compressor Plug-in allows users to map and control any third-party plugin directly from the Bus Compressor section of the UC1. In addition,

third-party plugins via the 360° Link Bus Compressor, extending the reach of the UC1 and the 360° Plug-in Mixer. The v1.8 update also improves general visibility on the UC1 – the top area of the screen now displays the name of the hosted third-party plugin when scrolling with the Channel encoder, helping to identify different plugins within the same track. Third-party plugin parameter labels are also visible in the Extended functions menu.

gain reduction metering from compatible third-party plugins can also be assigned to display on the UC1 Bus Compressor meter and Channel Strip gate/comp gain reduction metering (360° Link v1.1). SSL includes factory maps for popular third-party Bus Compressor-style plugins from Slate Digital, Brainworx, Waves and Universal Audio.

In addition to the mapping and metering features, the v1.8 software also removes limitations on how many Bus Compressor instances may be used with UC1. Now, users can access and control up to 192 instances of Bus Compressor 2 or

In brief, the manufacturer has announced two enhancements to SSL 12. Users can now access a “polarity invert” feature that is now present on the analogue and ADAT input channels, and also mono sum compensation can be adjusted to any value between –3.0dB to –6.0dB. Finally, SSL Live V6 has added a new effects suite, Dante routing enhancements and remote control updates. The changes bring studio processing tools such as Fusion FX and Path Compressor Mix Control to the stage via SSL Live.

www.solidstatelogic.com

a threshold). As a result, frequency ranges that define the track’s key characteristics gain a distinct advantage and become more prominent.

Meanwhile, the Immersive Wrapper is a utility tool that transforms any Waves mono-compatible plugin into an immersive processor for multichannel and object-based mixing in Dolby Atmos or other immersive formats. It brings the benefits of dedicated bus processing to Atmos mixes, solving a challenge faced by immersive mixers who want to shape the overall sound and character of an immersive mix with bus compression, EQ or saturation just as they are accustomed to applying on a stereo master bus when mixing in 2-channel stereo.

In brief, X14 versions of the manufacturer’s Titan and Titan-R SoundGrid plugin servers are now available. These next-generation models bring enhanced DSP power for running plugins in real time to live mixing setups.

www.waves.com

360° Link Bus Compressor

Luxul SW Series

HOME for the holidays

AVAILABLE FOR all compatible mc² audio systems, Lawo’s 12.0.0 software update introduces a range of features designed to

busses. This expansion is free of charge and requires no additional licence. In addition, the upgrade delivers improvements regarding

not only improve user experience and system security, but also add native support for Lawo’s cloud-native HOME mc² DSP app. HOME mc² DSP is Lawo’s audio processing HOME app for mc² mixing console systems and is a CPU-based processor for production workflows based on Lawo’s unified HOME platform. It runs on generic CPU processors and provides familiar mc²-style signal processing architecture; it has support for mono, stereo, 5.1 and immersive formats; and it handles up to 2,048 input processing channels. It also boasts 256 aux busses, 96 groups, 96 sums, support for 32 automix groups, downmixing functionality and a co-mixer feature for monitoring and collaboration.

Version 12.0.0 also adds 128 processing channels to Lawo’s standalone mc²36 MkII console with onboard A__UHD Core technology, for a total of 384 channels with up to 256

channel assignments and management, Waves integration, a more intuitive user experience and increased security features in accordance with EBU R143 cybersecurity guidelines.

A new Strip Assign page streamlines channel management by enabling users to assign single or multiple channels in one step, and quickly reassign, duplicate or swap channels between strips. Meanwhile, integration between mc² consoles and Waves systems through the new ProLink protocol also makes the grade, replacing the older RFC protocol and enhancing communication between mc² consoles and Waves SuperRack 14 systems. Label synchronisation is now automatic, while access channel linking allows engineers to open a connected Waves Rack with a single button press on the console.

www.lawo.com

FOCUSING ON the efficient management of EN 54-certified public address and voice alarm systems, LDA Audio Tech has devised the EVAC Cloud platform. Offering real-time notifications and incident resolution, EVAC Cloud enables remote management of public address and voice alarm installations from anywhere with internet access. Designed for environments requiring reliability and regulatory compliance, the platform centralises critical notifications and simplifies system status communication, streamlining daily maintenance and management tasks. Fully compatible with

EN 54-certified systems, the cloud platform integrates cybersecurity guidelines based on international standards, including the Euralarm/CoESS framework and IEC 62443 directives.

Devised as a versatile option for PA/VA projects, the NEO+ is a public address and voice alarm system featuring AED67 level 3 digital technology. It incorporates a processor, redundant controller functionality and the ability to directly connect to 32 microphones or evacuation panels (ACSI v2).

www.lda-audiotech.com

SQUEEZING AUDIO network system information into a single screen and using a simple graphical format, Linea Research’s System Engineer 8 control software (SE8) adopts a workflow-based DSP and power management design to get audio systems set up in minutes. The SE8 identifies, connects and syncs to all Linea Research products on the network so that audio systems are ready for the engineer to start setup, in both touring and installation environments. Users can arrange device modules (an input and any number of outputs) in any arrangement, amplifier modules can be named for easy identification and all amplifier parameters can be altered either independently or simultaneously.

The SE8’s three-step workflow starts in Set Up view for amplifier configuration, enabling users to choose primary and secondary input sources and establish input and output routing, as well as network and power options. Preset View then gives access to loudspeaker preset libraries

that can be loaded onto one or more devices. Users can also create loudspeaker presets from scratch, export and share presets between users, and use manufacturer-approved presets from the Linea Research website. The last step routes the user into Tune View where audio is shaped and contoured, with smart features and workflow tweaks that embellish the performance of the amplifier to enhance the setup process.

The SE8’s EQ Toggle provides multiple EQ palettes on all inputs, all outputs and groups. Meanwhile, CTRL/Select functionality enables parameters on inputs, outputs or groups to be adjusted simultaneously, while a Copy/Paste function for EQ enables users to transfer EQ to another input or output. Versatile IP addressing eases the integration of amplification into large IT networks, while the SE8 also features an I/O matrix mixer/router and improved telemetry logging.

www.linea-research.co.uk

Theory Professional unveils

THEORY PROFESSIONAL

a controller that provides PoE control of a single Theory DLC amplifier zone directly from the wall. Available in black or white and compatible with Theory DLC-250.4d, DLC-1500.4d and DLC-250.8 loudspeaker c ontrollers, the DLC Wall Mount Controller (DLC-CTRL) is described as simple to install, set up, configure and customise, and ideal for commercial installations such as bars and restaurants, retail stores, fitness centres, hotels, education institutions, corporate offices and houses of worship.

According to the manufacturer, the DLC-CTRL pairs easily to a network and allows for real-time device syncing. Users can connect up to eight DLC-CTRL units to a single DLC loudspeaker controller and can allocate

each DLC-CTRL to any single zone. Once connected to a DLC zone, users can change the source or manage the volume directly, as well as choose from preset minimum and maximum volume

For added security, the DLC-CTRL features PIN code protection with both basic and advanced access, including a system shutdown option. The form factor resembles modern lighting control with a touchfriendly matte finish, available in standard white RAL9003 and black RAL9005. The menu is said to be very intuitive, and users can adjust the UI screen brightness as well as choose from dark or light mode to suit the installation environment.

www.theoryprofessional.com

Audix elevates the low end

WITH THE release of the D6X, Audix has created a next-generation version of its most popular microphone. Extending the capabilities of the classic D6 kick drum, the D6X features a recessed, no-tools-required switch that selects between three frequency response profiles. Identical to the classic D6, “Deep” is a starting point, whereas “Balanced” provides more midrange and upper midrange, and “Natural” selects a more linear response, with an adjusted high-end roll off. This latter position suits experimentation on sources with a fuller range of frequency content, including Latin percussion or guitar amp cabinets. Providing natural, distortion-free sound capture, the VLM (very low mass) mic diaphragm handles high SPLs and is paired with a transformer-

less output circuit to minimise impedance and eliminate interference. Resembling the original D6, the enhanced design of the D6X features a black anodised aluminium housing with a textured matte finish and steel mesh grille. The US brand has also extended the PDX dynamic vocal series with the PDX520 studio microphone. Building on the PDX720 Signature Edition, the PDX520 captures a natural, warm feel for long-form content and intelligible broadcasts. Featuring a cardioid polar pattern for optimal sound isolation, the VLM dynamic capsule is engineered to deliver deep lows and precise transients. At the rear of the mic, a two-toggle switch includes a setting for a high-pass filter with a cut-off frequency of 80Hz with a 6dB per octave slope that eliminates

SQ-Rack goes compact

DELIVERING ALLEN & HEATH’s 96kHz SQ core in a compact, rack-mountable design, the SQ-Rack has been crafted to meet the demands of live sound, AV and installation environments. The solution has been engineered to offer users power, flexibility and intuitive control in one versatile solution.

The SQ-Rack is built on Allen & Heath’s 96kHz XCVI FPGA engine, delivering highresolution audio quality, low latency of less than 0.7ms and variable bit depths for optimised dynamic range. XCVI allows SQ to handle 48 input channels at 96kHz, with more mix headroom thanks to a 96-bit accumulator and the power to embed the manufacturer’s DEEP plugins into all 48 input channels and mixes.

It features 16 onboard mic preamps and three stereo line inputs, while the integrated SLink port simplifies the addition of more inputs and outputs. Up to 48 mic inputs can be added via Allen & Heath’s Everything I/O ecosystem. Users can also slot in one of A&H’s 64x64 audio networking cards for integration into Dante and Waves networks, digital FOH/monitor splits with SQ or for MADI connectivity with third-party equipment. With efficiency in mind, the SQ-Rack boasts a dedicated fader screen, customisable SQ-Control display and hands-on controls. The SQ-MixPad, SQ-4You and SQ-Control apps offer additional flexibility, allowing operators to take command from various locations.

www.allen-heath.com

Adorned with sound

EXPANDING ITS contractor series of ADORN ceiling, pendant and on-wall loudspeakers, Martin Audio’s compact ADORN A80T is a 2-way passive speaker designed for architectural environments such as retail outlets, bars and restaurants, corporate offices and convention centres. Comprising an 8-inch LF driver and a 1-inch polymer dome HF compression driver on a 90° x 50° horn, it handles 200W AES, 800W peak and can produce 120dB peak output at 1m. It has a smooth frequency response and bass reproduction that extends down to 63Hz. With a nominal impedance of 8W,

multiple speakers can be driven in parallel from a single channel of a low-impedance amplifier, such as the Martin Audio VIA2502 or VIA5004. The A80T also incorporates a high-quality transformer for 70V/100V line operation, with transformer taps selected by a rotary switch, and can be powered by the VIA

The company says its Martin Audio signature sound characteristic also provides a seamless sonic transition within a multi-zoned complex using larger Martin Audio systems such as the CDD or BlacklineX. www.martin-audio.com

possible rumble. The second switch adds a presence boost between 1kHz and 5kHz with a maximum increase of 3dB. Optimised for spoken word, the PDX520 is designed with plug-and-play gain and comes with an internal vibration dampener which eliminates the need for a separate shockmount. Packaged with a 5⁄8- to -inch adapter for easy mounting, the PDX520 also inherits the versatility of the PDX720 for applying on bass amplifier cabinets, outsidethe-head kick drum miking and horns.

www.audixusa.com

Amadeus Acoustics adds

AMADEUS ACOUSTICS has developed plugin integration with the Q-SYS platform. As a contributor to the Q-SYS ecosystem, the Austrian innovator collaborated with Q-SYS to create a control solution that integrates seamlessly into the cloud-manageable audio, video and control platform. Designed to enhance the immersive audio experience, the plugin can manage up to 100 acoustic presets, with the currently activated preset and status displayed. Up to 64 3D input source positions – including X, Y, Z coordinates, shape and pan algorithm – can be saved as snapshots within the plugin. In addition, volume levels can both be adjusted and muted. The Amadeus ART

platform communicates with the plugin to ensure real-time updates and functionality.

www.amadeus-acoustics.com

All hands to the thump

THE TRUVOX 1525 is a 15-inch bass and mid-bass driver from UK speaker specialist Celestion boasting continuous power handling of 800W and a rated efficiency of

96dB. Ideal for 2-way sound reinforcement systems and available as standard to manufacturers in OEM quantities, the Truvox 1525 is also available through retailers, making it suitable for DIY builders or as a drop-in replacement/upgrade to rejuvenate overworked PA setups.

The 1525’s cone is reinforced with fibreglass to increase its durability, while a triple-roll surround keeps the cone moving stably under heavy use. A rigid pressed steel basket features front and rear mounting gaskets for maximum flexibility of installation. Its 8W impedance ensures the broadest possible compatibility with power amplifiers, whether outboard or built into an active cabinet design, and Celestion says a frequency response measuring 40Hz–4kHz makes the Truvox 1525 as capable of midrange clarity as it is of low-end “thump”. The company plans to expand the Truvox line to include 8-, 10and 12-inch diameter drivers.

WITH THE PRX925 and PRX935 loudspeakers, JBL Professional has extended its PRX900 powered portable PA series to seven models. Integrating advanced acoustics, DSP and BLE control, the PRX925 is a 2-way, dual 15-inch enclosure designed for larger spaces that can utilise additional low-end support. As a 3-way, single 15-inch system, the PRX935 is engineered towards mid-frequency range performance and vocal clarity at full volume.

Providing full system control for up to 10 JBL app-enabled speakers, both PRX models are managed by the JBL Pro Connect App. The audio parameters can also be configured from an onboard colour LCD that includes a 12band parametric EQ. DriveRack technology

includes Automatic Feedback Suppression (AFS), system limiter and 180ms of speaker delay in 100μs intervals for precise time-aligned systems.

Housed in 18mm birch cabinets with optimised bracing, all PRX900 models are reinforced by a 7-year warranty. Powered by internal 1,000W RMS Class-D power amplifiers, the JBL 915H 15-inch ferrite magnet woofers together with the 2408H-1 and H-2 1.5-inch compression drivers provide detailed highfrequency response. I/Os include dual XLR balanced Combo jacks, a 3.5mm aux, dual XLR-M loop-throughs and an XLR-M mix out. Two integrated side handles, a 36mm pole socket and eight M10 suspension points extend a versatile feature set.

www.jblpro.com

Fourier Audio transforms again

FOURIER AUDIO has announced that its transform.engine now offers a companion software bundle, known as the transform.suite ’25, that brings together more than 70 p lugins from the world’s top studio processing developers. Available on an annual licence, the package includes a

curated selection of plugins from Baby Audio, Eventide, Harrison, oeksound, the Plugin Alliance, Slate Digital, Solid State Logic, sonible, tc electronic and Universal Audio.

Upon purchase, the plugins are immediately installed and licensed onto the user’s

LD Systems heads on a quest

WITH QUESTRA v1.3, LD Systems’ design and management software platform integrates third-party solutions for the control and automation of network-based installation solutions. Users can now configure and manage audio, lighting and video technology using a centralised software platform. This, as well as the use of nodes, is said to provide the basis for the much wider array of functions in Questra. The Logic Nodes enable modular programming and time-based automation, and they provide extended integration options

Long-range announcements

TOA ELECTRONICS Europe has released two speaker series designed for diverse applications. The long-range Horn Array (HA) Series has been engineered for outdoor mass notification and disaster prevention. The design focuses on delivering clear, intelligible voice announcements over long distances while minimising vertical sound dispersion and reducing noise interference. The horn configuration reportedly ensures precise sound direction with minimal spillover, making it suitable for critical scenarios where reliable communication is paramount.

Created for indoor and outdoor applications, the F-BOX Series of surface-mount box speakers comes in three sizes (3.5-inch full-range, 5-inch 2-way and 8-inch 2-way) as well as an 8-inch

transform.engine with a single button click, eliminating any worries about monthly subscription management or the complexities of navigating different plugin licensing platforms.

www.fourieraudio.com

subwoofer. The speakers are all available in black or white, as well as in an EN-54 certified version. Each model – including the subwoofer –is designed to be compatible with both low- and high-impedance sound systems.

In brief, the Japanese manufacturer has also released the VM-4000 compact voice alarm system, available in both wall-mount and rack-mount editions. Meanwhile, the CX-1000 Series bridges the gap between building access applications, internal communication, emergency communication and public address solutions. All elements in the series work in one harmonic ecosystem that is open to integrate SIP and ONVIF devices.

www.toa.eu

and management of integrated devices. The Calender Node, for example, is suitable for complex scheduling tasks, while the Network Command Node enables third-party control via TCP, UDP and HTTP.

In addition to the Questra software (Windows), a separate user interface has been developed for Questra panels to enable the most important commands to be selected quickly and easily, including scene and zone selection, starting and stopping scenes, dimmers and colour adjustments.

Meanwhile, the DQOR series is now complete with the introduction of its own subwoofer models. The DQOR SUB 8 is equipped with an 8-inch woofer and a 10-inch passive cone and is available in three versions for flexible use: as a passive model (DQOR SUB 8) for outdoor use, as an active model (DQOR SUB 8A) with integrated 250W power amplifier for indoor use and as an IP55-capable, active Dante solution (DQOR SUB 8D).

www.ld-systems.com

A NEW battery-powered addition to its ProFX line, Mackie has unveiled the ProFX10 GO analogue mixer. Featuring up to eight hours of battery life on a rechargeable and swappable battery, the ProFX10 GO has been designed for musicians to use on-the-go and in remote locations.

The 10-channel mixer is loaded with Mackie’s Onyx preamps and built-in GigFX+ digital effects, EQ and compression, and provides a USB-C interface and Bluetooth connectivity. It features a range of inputs required for a live setup, including mics, instruments, phones or tablets, in addition to outputs to connect to the manufacturer’s GO loudspeakers.

Housing a 2x4 USB-C audio interface operating at 24-bit/192kHz, the ProFX10 GO offers three USB recording modes: Standard (including FX), Loopback (including computer audio) and Interface (channels 1–2 dry). For software instruments and overdubbing, it features separate USB 3–4 return on channel 7/8. Additionally, it comes with Waveform OEM recording software.

It benefits from the analogue mixing essentials such as four Onyx mic preamps with up to 60dB of gain on channels 1–4, Hi-Z switches on channels 1 and 2 for direct connection of instruments, 100Hz low-cut filters, 3-band EQ on all channels and one-knob

compression on channels 1 and 2.

In terms of sound quality and performance, the solution offers up to 60dB of gain and 48V phantom power on all channels, along with analogue compression and 3-band tone shaping EQ. Furthermore, the GigFX+ digital effects engine enables users to edit and save over 24 different reverbs, delays and choruses.

With connectivity in mind, there is a dedicated Bluetooth channel which users can connect to from phones or tablets to send and receive audio wirelessly. Users can also play their Dj sets, perform to backing tracks or stream live. In addition, the ProFX10 GO allows events to be captured to Mac or PC devices at high-resolution sample rates up to 192kHz via high-speed USB-C connection. The mixer is housed in a rugged steel chassis.

www.mackie.com

Rhaon II steers forward with OmniBeam

THE 2.5.0 update for Renkus-Heinz’s Rhaon II system manager now includes the OmniBeam beam-shaping algorithm. Designed for simplicity, through a click of the “Snap to Audience” button, OmniBeam instantly generates custom-tailored audio coverage for any venue.

A comprehensive software suite for controlling and monitoring all Renkus-Heinz loudspeaker systems, the Rhaon II system manager has been designed to be easy to program and use, and is fully compatible with both Gen5 and legacy Renkus-Heinz products.

The latest version of Rhaon II has been completely redesigned from the ground up, using highly structured modular code for greater stability and expandability. The result is a new Rhaon technology that aims to be faster and more reliable, with a streamlined, intuitive workflow.

The system manager’s new network-agnostic interface has been structured to enable simplified implementation of new and emerging protocols, including Dante and AES67. The solution offers

support for multiple NICs and wireless operation, enabling Rhaon II to integrate into existing network infrastructure.

BeamWare III, the latest iteration in the manufacturer’s beam steering calculation and simulation program, has been incorporated directly into Rhaon II. BeamWare gathers basic room and mounting information from the user and uses new, enhanced algorithms to automatically calculate the optimal beam design, acoustic centres and level profiling. For designers who want to create a custom frequency response target curve, Rhaon II will automatically optimise and equalise the beams.

In brief, the manufacturer is now offering EN 54-24 certificates for all models in its UBX Series of passive column loudspeakers. This certification ensures that UBX loudspeakers can be used as part of a voice alarm system within an emergency communication system.

www.renkus-heinz.com

Third-gen R Series racks unveiled by Yamaha

COMPATIBLE WITH RIVAGE PM series and DM7 series digital mixing systems, as well as the manufacturer’s CL and QL series consoles, the third generation of Yamaha’s R Series I/O racks have been unveiled.

The first-generation Rio3224-D and Rio1608-D debuted with the launch of Yamaha’s CL series

sound, as well as the audio assigned to the last two Dante receive channels, and is suitable for building complex networks. An additional (third) network port on the rear panel enables control and monitoring to be handled separately from Dante, a benefit for fixed installations. In addition, each output port is now equipped with

maximum precision, while the mixing engineer at the console adds colour, the R Series I/O racks are said to deliver lower noise levels and a wider dynamic range.

A new addition is a headphone socket, which can be used for checking the input and output

Work Pro expands its Integra family

THE INTEGRA 4SA and Integra 8SA have been added to Work Pro’s Integra series, and are said to bring “advanced and versatile solutions” for audio management in professional installations. Both models integrate DSP matrix functionality and amplification into a single product, providing a compact all-in-one solution for audio management and amplification.

The Integra 4SA is a matrix with four inputs and four outputs, featuring a 4-channel amplifier with 150W per channel. This combination is suitable for applications where a simplified installation and reduced size are required, without sacrificing performance and flexibility. On the other hand, the Integra 8SA offers an 8-in/8-out matrix along with an 8-channel amplifier, each with 150W of power. These models not only manage audio but also provide amplification, significantly reducing complexity and installation time.

Meanwhile, the NEO Air is a wireless addition to the NEO range of installation

loudspeakers. It comes with an advanced built-in wireless digital audio transceiver which transforms NEO Air speakers into a seamless broadcast system where any unit can function as a master or receiver. In multispeaker installations, one speaker can act as the master to distribute audio to an unlimited number of receivers, creating synchronised and immersive audio environments.

The NEO Air master speaker supports both Bluetooth and wired line-in connections, allowing users to stream audio from smartphones, computers or other devices. The master speaker can broadcast audio to an unlimited number of NEO Air receiver units. With dip switch-controlled channel selectors, up to 16 independent audio channels can be assigned, enabling venues to deliver distinct audio ambiences across multiple zones.

www.workpro.es

DESIGNED TO projection screens in digital signage and multi-display applications, AV Stumpfl has expanded its Pixera ecosystem with the release of the Pixera zero. Combining a hardware configuration in three models, the compact zero media server provides up to four 4K video outputs, within a 210mm x 265mm x 89.3mm form factor.

peace of mind. Importantly, power consumption of the Rio3224-D3 and Rio1608-D3 is 16% lower than earlier units, delivering a more costefficient and environmentally friendly solution.

www.yamaha.com/2/proaudio

Hosting an Intel Xeon processor with six cores, 12 threads and up to 5GHz, together with 32GB of RAM, the Pixera zero provides playback of uncompressed 4K content. Supporting a constant read rate of up to 5GB/s, its NVMe storage technology promotes high-speed data transfer and added reliability for both fixed installations and live events. The Pixera

zero media servers offer video playback, with licensed video outputs supporting resolutions up to 4096x2160 pixels at 60Hz. Weighing 3.72kg, its power-efficient design and peak power consumption of just 300W reportedly ensure optimal energy use for sustainable deployments. The PXZ-0, PXZ-2 and PXZ-4 models each come with a server software licence.

www.avstumpfl.com

Further illuminations from Lightware

FOLLOWING THE introduction of the Taurus UCX matrix switcher in 2021, Lightware has developed its portfolio across the Taurus product line. Designed primarily for meeting rooms and collaboration environments, the

USB-C connectivity platform promotes the sharing of content, switching of hosts and control of functionality.

Combining docking with control, monitoring and room automation, the Taurus UCX-1x1-C40

Matrox adapts to High and Open Standards

synchronised video surface of any size and rectangular arrangement, Matrox has released the Mura DVW. The IP-based 4K

distributed videowall appliance combines multiple units in various arrangements including computing, networking, video decoding and graphical processing capabilities. The flexible and scalable Mura DVW distributed videowalls can have further appliances added at any time. Each Mura DVW appliance supports high-density and flexible decoding of

Black and white broadcasting

MARSHALL ELECTRONICS has introduced the CV630-BI (in black) and CV630-WI (in white) IP PTZ cameras. Both models feature 25X UHD (HEVC) IP capabilities, making them suitable for live broadcast, newscast, reality TV, concerts, corporate, government, courtroom, house of worship and education applications. At their core, both models are equipped with an 8-megapixel 1/2.5-inch sensor capturing up to Ultra-HD 3840x2160p video, with support for HD 1920x1080p, 1280x720p and 1920x1080i. They are also equipped with synchronous pan, tilt and zoom motors for smooth and silent camera movements. A 25x optical zoom block provides flexibility from 4.6–120.5mm, with a nearly 68° angle-of-view at their widest. Multiple simultaneous video streams are available over HDMI, 3G-SDI and triple-stream

IP (H.265/H.264) with stereo audio input embeddable on all available outputs. PoE+ is said to provide an economical and easy solution for integrators during installation. The CV630-BI and CV630-WI offer easy control over iris, shutter, white balance, focus and pan/tilt speeds, and are controllable by IR remote, networked video management software (VMS) or RS-232/RS-422 with support for Visca, Visca-over-IP, Pelco and Onvif platforms. Additionally, both models are compatible with the Marshall VS-PTC-300 PTZ camera controller, providing adjustment of pan/tilt/zoom, pan/tilt speeds and white balance, with one button dials and rocker control.

up to one 8K60, four 4K60, eight 4K30 or 16 1080p60 streams, in H.265 (HEVC) or H.264 (AVC).

Eliminating the need for a separate server, the Mura DVW comes with MuraConfig web-based installation and configuration tools, which install and configure videowalls on any device from any location. Automatically discovering devices, MuraConfig configures the wall and bezels, and checks the PTP status and configuration.

An update to the Matrox ConvertIP DSH transmitter/receiver now enables IP-to-IP bridging for converting between uncompressed and

compressed formats including ST 2110-20, ST 2110-22 and IPMX. With features including wide asynchronous receivers and packet-paced narrow senders, the DSX LE5 and LE6 ST 2110 NICs offer universal compatibility and scalable interoperability within streamlined IP workflows. Supporting ST 2110 and IPMX inputs, the ConvertIP SDM is an Intel smart display module. Delivering 4K, zero-latency video streams over IP, the ConvertIP SDM bridges gaps between HDMI, HDBaseT and SDI networks.

www.matrox.com

Lumens launches 4K decoder for hybrid meetings

LUMENS HAS introduced its OIP-N60D Dante AV-H, a mini decoder that integrates Dante audio and video sources into hybrid communications. Designed as a user-friendly system, Lumens claims that the OIP-N60D Dante AV-H is the first all-in-one audio and video Dante decoder that connects to a user’s laptop with a single USB cable.

The unit supports low-latency 4K decoding with output to HDMI and USB simultaneously. This enables the decoder to connect to professional IP cameras with high-quality optical zoom lenses and comes with features such as voice tracking, motion tracking and auto-framing.

It has two channels of Dante audio and can connect to in-room microphones, sound bars and digital signal processors for enhanced audio during online meetings. The decoder is powered by a PoE-enabled network switch or by USB. Thanks to Dante Controller, AV teams can select any Dante audio or video source available in the room without the need for system

RGBlink supports gamers within a blink

THE MSP 331U Gen2 marks RGBlink’s most powerful USB capture card to date. Designed for a new generation of gamers, it offers a fast and ultra-lowlatency game capture experience, supporting high resolution, a high refresh rate (up to 240Hz) and highdefinition video quality. Enhancing the overall desktop ambience, the four-colour indicator provides clear visibility of the device’s status.

Equipped with an adaptive power regulation algorithm, the MSP 331U Gen2 enables 7x24 hours of uninterrupted operation without a fan, ensuring a completely silent

The plug-and-play design eliminates the need for complicated setup, providing users with a simplified and intuitive experience. The USB card supports features including HDCP 2.3, HDR and analogue audio

reconfiguration or proprietary control software. The OIP-N60D Dante AV-H also supports Dante Domain Manager and Dante Director for LAN and cloud-based control, security management, monitoring and alerts. www.mylumens.com

input mixing, which are especially suitable for game streaming and film production voiceovers. Supporting RGB 4:4:4, 4K at 60Hz and lower standard signals, the MSP 331U Gen2 is compatible with HDMI output. Supporting sampling rates of up to 3840x2160@60fps, the USB-C 3.2 port provides data transfer rates up to 5Gbps.

www.rgblink.com

Visionary provides an insight into the D5000 decoder

WITH THE introduction of the D5000 decoder, Californian manufacturer Visionary has added a compact AV-over-IP decoder to its 5-Series lineup. Designed for projects requiring streamlined functionality, the D5000 features a simplified I/O set, a single HDMI output, a single PoE Ethernet port and RS-232. Providing the core performance capabilities of Visionary’s D5100 in a more economical format, including native AES67 audio support, the D5000 is suited to AV-over-IP installations not requiring advanced decoder features.

In addition, Visionary has introduced significant upgrades to its PackeTV IPTV platform. The

signage system has been updated to provide enhanced functionality, a more efficient workflow and extended control. To create and distribute unlimited playout designs without additional licensing, improvements include a new template-based workflow. Every aspect of the IPTV ecosystem can be managed from the revamped Admin Portal. The interface enhances usability across all core functionalities, including live channel management, TV gateways, encoder management, recording, signage and virtual matrix control.

As part of the enhancements, the Scheduling Engine has been redesigned to

Green Hippo unveils Hippotizer MX Series

OFFERING FIVE customisable, dependable and futureproofed media server solutions that enhance workflow efficiency, the Hippotizer MX Series from Green Hippo provides 10-bit video playback for accurate colour reproduction, supporting SMPTE 2110 and IPMX workflows, as well as easy system customisation. Created for designers, touring professionals and integrators, the units come with rear-chassis illumination, upgradeable and swappable media drives, customisable output

The manufacturer has also released Hippotizer software version 4.8.4. Key improvements include an update to PixelMapper, which no longer adjusts two characters when using Del/Backspace/Arrow keys; Moving Presets no longer breaks Bank Slot readout in TimelinePlus, rest API errors have been fixed when using Preset and Timeline Modules and improved behaviour of TimelinePlus starting with the engine. PixelMapper UI should now work as intended in Windows 11 and Auto

scheduling and playlist management. Additionally, PackeTV IPTV features analytics

its existing support for virtual machines, PackeTV broadens deployment flexibility for

accommodate for certain Datapath capture cards – fans will now ramp up if capture card temps are detected at an unstable level. Finally,

users need to take the same steps listed for AMD systems.

CHRISTIE HAS added two models to its Jazz Series, a family of 1DLP laser projectors. The 4K1600-JS and 4K2100-JS 4K UHD+ projectors join the WUXGA models and feature 16,600 and 21,350 lumens, respectively. They use Texas Instruments’ 0.8-inch HEP (High Efficiency Pixel) DMD for improved colour and contrast and a more efficient cooling system design. Jazz Series projectors deliver high brightness and resolution in a compact chassis, weighing only 29.4kg. With their quiet operation, built-in warping and blending capabilities, and a full suite of compatible lenses, including UST, the Jazz Series has been designed for concerts and theme park attractions as well as museum exhibits and projection mapping. The models come with optional Mystique automated camera-based alignment and are compatible

with Christie Intelligent Camera to trigger autofocus, automatically calibrate projector colour and optimise colour uniformity. The manufacturer has also unveiled the Spyder-S Series and Mastering Gateway. The former features five variants for multiscreen windowing processing for live events, broadcast and sports venues, while the latter has been designed for HD, 4K and 8K video distribution over IP networks for postproduction, live events and broadcast.

Expanding Christie’s Spyder platform, the Spyder-S Series supports HD, 4K and 8K resolutions at ultra-low latency for synchronised picture quality for critical applications. Key features include a modular and distributed architecture that allows multiple Spyder-S nodes to be combined to share source, monitoring and

Wireless sharing

EXTRON HAS unveiled the ShareLink Pro 2500 4K dual screen wireless presentation system, designed to allow users to present content from computers, tablets or smartphones on up to two displays. It supports simultaneous content display from up to four devices, including an HDMI-connected source such as a signage player. The included ConferenceShare enhancement enables wireless content sharing from in-room USB devices to UC platforms like Teams or Zoom. The ShareLink Pro 2500 features collaboration and moderator modes to facilitate both open and controlled environments, while dual Ethernet ports support more secure environments. When used with Extron GVE (GlobalViewer Enterprise) software for centralised management, IT staff can support multiple devices across an enterprise or campus. The ShareLink Pro 2500 enhances

numbers of displays by allowing any output to act as a multiviewer in canvas processing environments. With support for standards including HDMI 2.1, DP 1.4 and SDI-12G, the Spyder-S can manage up to 64 inputs and layers on one or more pixelspace(s), each

collaborative spaces with wireless integration of AV and mobile devices.

The manufacturer has also announced that its WC Pro 150 OCS and WC Pro 160 workspace automation controllers are now shipping. The solutions have been designed to add easy, secure display control and automation to workspaces of various sizes.

ARRI adds to Alexa range

ARRI HAS introduced the Alexa 265, a 65mm camera developed following feedback from users of the manufacturer’s larger Alexa 65. It is said to deliver a higher image quality through 15 stops of dynamic range and enhanced lowlight performance. The Alexa 265 features the

The Alexa 265 camera body is based on the compact Alexa 35 and despite containing a sensor three times as large, is only 4mm longer and 11mm wider. This means that the

Alexa 265 is less than one-third the Alexa 65’s weight and takes advantage of ARRI’s latest cooling and power management technologies. While the camera’s small size and weight allow it to be used in space-constrained locations, it also works faster on-set. Boot-up time and power draw have been improved, and compatibility with the Alexa 35 accessory set delivers more rigging options.

Filmmakers wanted to retain the 6.5K resolution and large pixel pitch, but were interested in higher dynamic range and improved low-light performance. A comprehensive revision of the 65mm sensor was developed for the Alexa 265, increasing the dynamic range from 14 to 15 stops and the sensitivity from 3,200 to 6,400 Exposure Index (ISO/ASA), with crisper blacks, greater contrast and a lower noise floor.

In brief, the manufacturer has also released the lightweight Artemis Live 2, optimised for live productions, events and sports. Designed to provide an accessible entry point into the ARRI CSS ecosystem, the Artemis 2 Live is modular and upgradeable to allow users to adapt to different production demands, including the ability to utilise whatever batteries are available at a particular shooting location.

www.arri.com

Depending on the model chosen, users can have automatic display control via an occupancy sensor – either built into the workspace controller or integrated as part of a room automation system. Right out of the box, these automation controllers will automatically power on a display via CEC when a person enters a room and turn it off at the end of the meeting when no motion

all with zero frames of latency. It is compatible with ST 2110-20, -30 and -40 standards for transmitting uncompressed content over IP networks.

www.christiedigital.com

is detected. Through the built-in web page, users can configure automatic display control over Ethernet, RS-232 or IR. Furthermore, both models support PoE for added convenience. To expand control capabilities to multiple displays and devices, users can add a LinkLicense for WC Pro Control Processor and configure these automation controllers with Global Configurator Plus or Professional. This LinkLicense will also provide access to Extron’s line of TouchLink Pro touchpanels and network button panels if a user interface is needed. Once LinkLicense for WC Pro Control Processor has been activated, LinkLicense for user interfaces can also be applied. This aims to offer a simpler way for users to operate their mobile devices or computers as primary control interfaces.

www.extron.com

a modular indoor videowall system with a thin profile that not only simplifies direct wall mounting, but also offers easy front installation and servicing of its universal magnetic LED modules. With high-performance LED drivers delivering a 3,840Hz refresh rate for camerafriendly operation in high-demand applications, the company says that combining NovaStar A10s Pro receiver cards, MX series processors and COEX VMP software delivers a wide DCI-P3 colour gamut and low-latency signal processing.

COEX VMP platform and MX-series processors/ senders. Its magnetic LED modules make replacement and servicing simple, while linking hardware is integrated into frames to make building bigger screens much faster. Designed for wall mounting and front service applications, its ultra-slim design allows for cabinets to be mounted very close to walls to reduce side profile.

www.chauvetprofessional.com

Alexa 265

Easy on the IP

THE EASYIP Tx/Rx HDMI encoder or decoder is the latest addition to Vaddio’s EasyIP ecosystem. The two-in-one device allows third-party cameras or HDMI content sources such as laptops to play in the EasyIP ecosystem. It can be set to either transmit or receive mode. In transmit mode, the EasyIP Tx/Rx converts HDMI signals and analogue audio inputs to EasyIP and Dante streams. In receive mode, the Tx/Rx converts EasyIP and Dante signals and delivers them as 1080p HDMI and analogue audio outputs for local viewing and listening. With support for Dante, analogue and EasyIP audio routing options, the EasyIP Tx/Rx is suitable for video distribution in

any number of destinations. This feature reportedly simplifies content distribution across rooms or displays without the need for costly cabling or distribution amplifiers. The multicast capability will be available through a firmware update for all existing EasyIP devices.

The manufacturer has also launched the DocCAM 4K HDBT document camera, designed for enhanced image clarity, easy installation and versatile streaming capabilities. The solution is aimed at educational settings, corporate training rooms and meeting spaces where highresolution overhead imaging is required. The ceiling-mounted document camera features 30x optical zoom and a 70.2° horizontal

design mean it can be installed behind displays, under tables or in AV racks. It can also be configured as a content distribution system, sending digital signage content from one source to many displays in a building or space. The unit can be reset and configured to either Tx or Rx at any time.

With the introduction of EasyIP Tx/Rx, EasyIP systems now support multicasting, allowing a single source to be received at

Clearly Kroma

AVAILABLE IN 24- and 31-inch variants, AEQ has announced the availability of the Kroma LM9000 4K monitors. In addition to HDR technology colour reproduction that enhances image contrast and realism perception, the LM9000 4K series enables detailed analysis of any video and embedded audio signal. Advanced Waveform/Vectorscope, VU meters and unique features including Peaking Colour, allow out-of-range signal levels and values to be detected. With an ability to display up to 10-bits for each of the red, green and blue primary colours, different colour gamuts can be displayed in HD-BT.709, 4K-DCI and BT.2020. With a high brightness of up to 1,000cd/m2, the LM9000 monitors accurately reproduce every HDR video standard including HLG, ST2084 or PQ (Perceptual Quantizer) and S-Log curves. With the calibration specifically designed for 4K resolutions, it is possible to adjust each monitor individually and to user preferences. Setting different colour spaces standardised by various international organisations is also possible.

space, providing presenters with clutterfree space and allowing it to be integrated into various environments. Equipped with Vaddio’s OneLINK HDBaseT port, the DocCAM 4K HDBT easily connects to Vaddio OneLINK extension systems or other HDBaseT-compatible devices to reduce cabling and extend video, power and control up to an installation distance of 100m.

www.legrandav.com

Panasonic releases software for media processors

ET-FMP50 Series

multi-projection experiences, Panasonic Connect has released a dedicated integrated software for its media processors. The ET-FMP50 Series has been designed for all three media processors in the FMP50 Series to simplify and streamline the whole workflow process, from advanced setup to content management. The FMP50 Series includes two box-type devices (ET-FMP50/ FMP20) and an Intel SDM specification slotcompatible function board (ET-SBFMP10).

The software provides seamless control of large-scale, multiple projector immersive experiences and integrates screen adjustment capabilities, including precise geometry correction, with comprehensive content management functions.  Immersive visual effects can be accurately created using auto screen adjustment, while multiple pixel-by-pixel alterations can create a smoother, more refined finish. Functionality includes geometry correction, content splitting, edge blending, black level adjustment, colour matching and masking. Providing everything required for automating content playback from multiple media, the content management functionality

monthly or even yearly timetables.

Offering AVoIP connectivity, high-quality visuals and an ease of installation, the TL-110AD12AW is a 110-inch all-in-one LED display featuring brightness of 700cd/m2 and a pixel pitch of 1.27mm. Delivering high-quality images with no colour deviation, the 110-inch model features multiple Intel SDM slots, for seamless AVoIP integration with various proprietary or third-party function boards. Panasonic’s LED display controls brightness and power to suit the installation environment, enabling it to operate continuously while reducing power consumption. Burn-in prevention and correction technology address issues that can occur when images are displayed for long periods.

In brief, the manufacturer has also released the VMZ7ST Series of short-throw LCD projectors. Based on the VMZ82 Series, the PT-VMZ7ST (7,000 lumens) and PT-VMZ6ST (6,200 lumens) are said to be Panasonic’s most powerful fixed, short-throw LCD laser projectors to date.

eu.connect.panasonic.com

The input video signal can be analysed for both luminance and chrominance levels in YCbCr or RGB format. Pixel values above or below those recommended by ITU and SMPTE standards can also be detected at full frame level or individually for each of the lines that make up the image. The VU meters allow a correct detection and evaluation of the audio level of all channels of the video signal. The rear panel incorporates four SDI input and outputs for pairing with signal presence LEDs. Dual 12G-SDI switchable inputs are also included together with four 3G-SDI inputs for 4K Quad-Link inputs, a corresponding Quad-Link follower output and a Digital Components Input (DCI) connector supporting resolutions up to 2160p60. An RS-232C serial port, USB connector, RJ45 connector for GPI and a pair of RS-422 input and follower connectors come as standard.

www.aeqbroadcast.com

The all-new SRX915SF and SRX918SF flyable subwoofers expand the SRX900 Series, which offers the perfect balance of value and quality. Learn more at jblpro.com

Silent Light

BALANCING SILENT

the same feature set of ETC’s flagship Halcyon family, the fanless Halcyon Silent from High End Systems is aiming to find the peace in noise-sensitive venues like concert halls and opera houses. Fully tested by acoustics specialist Müller-BBM, the Halcyon Silent measures 13dBa at full intensity and with background noise removed; for context sound pressure levels less than 20dBa are considered inaudible.

Convection-cooled to eliminate distracting sounds, the luminaire brings 18,400 lumens as well as a 5.5 range, and boasts a patented colour-mixing system using 12 flags. The company says these colour sets deliver brighter, more consistent pastels as well as deeper saturation, and can be controlled via combined or individual flag control modes. The Halcyon Silent includes a host of gobos on two rotating gobo wheels, full curtain framing along with the Trifusion system for diffusion control from sharp projections to heavy washes and control

of the angular position of animations via the Halcyon Silent’s continuously variable rotating animation wheel.

Martin unveils VDO Sceptron XB

MARTIN PROFESSIONAL has added to its LED pixel-batten family with the VDO Sceptron XB, designed for both lighting and creative video applications. The fixture inherits all the VDO Sceptron family’s features such as user-friendly mapping, simplified diffuser and lens exchange and a range of available rigging accessories. The manufacturer has also released Companion Mobile, the app-based version of Martin’s Companion fixture management, firmware upload and standalone programming tool.

The VDO Sceptron XB has been engineered with a boosted lumen output, enhanced cabling freedom and the ability to be controlled as a lighting fixture via Art-Net and sACN and as a video fixture via Martin P3, or both simultaneously.

The fixture also features more than double the white light output and up to five times as much saturated colour output compared to its predecessor, the VDO Sceptron 10. It uses RGBW LEDs for an enhanced spectrum (CRI, TM-30, TLCI), making it suitable for illumination of people, set décor and other focus areas. The enhanced control options also aim to make this fixture easy to deploy, with or without a P3 System Controller. The batten features Extended Gamut calibration for enhanced performance on whites, offering colour temperature and tint control. The P3 Mix channel enables transitions between video and light control.

Additional features include built-in effects macros, a standalone mode for applications without a controller and a full suite of optical and rigging accessories. It also boats an IP65 rating for indoor and temporary outdoor

The lighting manufacturer has also introduced its latest automated lighting solution, the Zeo. This multifunctional

moving light can serve as a blinder, strobe,

with customisable colours. For additional versatility, each cell can be individually controlled, allowing for pixel mapping and other effects.

www.etcconnect.com

The architecture of lighting

extended its DURA Series of outdoor architectural lighting. All IP67 fixtures in the range are suitable for accentuating buildings, façades and art objects. The DURA SPOT RGBW comes in four different light outputs, while the DURA LINE RGBW linear fixtures

as accessories, providing versatility in lighting design and allowing users to customise the lighting to fit any application. Control is via DMX or RDM, with external control remote available via Cameo’s UNICON (CLIREMOTE). The units boast a minimum LED lifetime of 50,000

The app synchronises with Martin’s library over the internet, eliminating the need for manual downloads. Additionally, it automatically synchronises with the Martin-made GDTF files on the GDTF share. This provides access to all fixture details such as DMX Modes, DMX Channel Listings and Gobo Loadouts. GDTF files can be exported directly from Companion for use with any GDTF-compatible software.

www.martin.com

(50cm/100cm). The units can be used by architectural and lighting designers or for building owners who want to showcase their properties in a professional manner.

The DURA SPOT 60, 100, 200 and 400 are all equipped with an efficient 20W RGBW LED and calibrated for “excellent colour consistency”. The 6° beam angle and anti-glare shield included with each lamp help to minimise light spill and create a focused effect. Various filters for different beam angles are available

The DURA LINE 50 and 100 both come with various filters for different beam angles as accessories. The filters are designed so there is no need to break the IP67 protection by opening the fixture to switch between the filters. Both units can also be connected to each other thanks to the original Amphenol LTW connectors which combine power and data transfer in one cable.

www.cameolight.com

Halcyon Silent Zeo

A paragon of lighting from Elation

DESCRIBING IT as the next frontier in precision intelligent lighting, Elation’s Paragon series boasts TruTone variable CRI technology and a weatherproof IP54 rating, enabling designers to achieve intelligent adaptability with exact control over colour fidelity in both indoor and outdoor environments.

Designed for applications requiring superior output, powerful beams, ultra-quiet operation and precise gobos, colours and framing cuts, the Paragon series is built around a customdesigned white LED engine. TruTone allows seamless adjustment from CRI 70 to CRI 93, offering a true variable colour fidelity that enhances mixed colour tones and enables precise white spectrum adjustments.

This level of control is said to allow designers to customise and adjust the lighting with perfect accuracy to match any scene or artistic requirement.

fixture output and offers a fast zoom range from 5–50° to cover tight beam to wide wash applications. Its effects package includes seven rotating glass gobos, nine fixed metal gobos, a full animation wheel, overlapping dual prisms, dual frost and a high-speed iris. The animation wheel’s interchangeable design allows for custom wheels or the option to use a 7-fixedgobo disc. The indexable framing system allows precise beam shaping with full-blackout shutter cuts, while the 7-position colour wheel, including a UV filter, provides more creative

The Paragon M has a more powerful 900W white LED engine delivering 37,000 lumens, making it a midsize fixture built to make an impact across a broad spectrum of venues.

Four at 30

GLP IS celebrating 30 years in lighting with the launch of four products. With one eye on festival use, GLP says the IP65-rated Mad Maxx is the first real LED fat beam light, boasting a 750mm beam diameter that can be used as a SkyBeam as well as a fat bam onstage. Compared to alternative 3kW or 7kW Xenon fixtures, the Mad Maxx is compact and doesn’t need high ampere power infrastructure; with only 2,500W, the fixture can easily be connected to the normal power distribution network.

The Fusion EXO Hybrid 40 is the latest member of GLP’s Exo Series and is a beamspot LED fixture with a 380W white light LED, a 135mm front lens and a zoom range of 3.8–46°. Suited to small and medium-sized stages, as well as for outdoor use at festivals, it has an extensive functional package for spot, beam or wash applications, including a CMY colour mixing system, a colour wheel with 12 fixed colours and additional fourcolour correction filters, two gobo wheels, an animation wheel, a frost system and two combinable prisms.

In brief, the GLP impression S500 Series boasts a 500W LED engine and comprises two spotlights and a washlight, while the JDC Burst 1 is an outdoor LED tiltable strobe and wash light with a powerful white strobe line, two RGBW LED plates for clean white punch and 12 4-RGBW segments.

www.glp.de

Vari-Lite goes fully digital with VLHive

PROCLAIMING TO be the world’s first alldigital entertainment lighting fixture, Vari-Lite has debuted the VLHive 151 Digital FX. Manufactured at the company’s Dallas factory in Texas, the fixture includes a digital light engine with 45,000 lumens of output and pixellevel control. The VLHive’s 151-emitter LED array can

multichromatic animations. Users can create their own shapes and animations using the HiveCreator software tool, while patented technology gives designers a range of unique effects, including effect smoothing, polar positioning, transition effects and gobo keystoning – all of which can be controlled on the fly by standard DMX. The large 12-inch front lens can also be changed to a frosted projection surface at the press of a button, switching seamlessly from mid-air effects to direct-view animations on the fixture’s face.

The company has also launched the VL600 Acclaim+ Series of theatrical luminaires, which include a Fresnel and an ellipsoidal profile light engine offering the same core capabilities as the original VL600 Acclaim Series line, but with more output and features for larger venues. Both the VL600 Acclaim Fresnel+ and the VL600 Acclaim PLE+ share the same RGBL colour mixing system as the existing Acclaim Series fixtures, but with a 305W LED engine for over 15,000 lumens of output. The fixtures also include onboard etherCON connectivity for direct control via sACN or Art-Net without a separate

The voice for more choice

AIMING TO give lighting professionals more control over their workflows, ChamSys has unveiled three products specifically engineered to give users more choices. The MagicQ Compact Wing is a compact expansion wing that provides physical access to more faders and more playbacks, opening up more creative opportunities. Styled to match the MQ50/70 Compact Consoles, the portable MagicQ Compact Wing offers 10 fader and 10 executor playbacks, all of which feature a large full-colour display with legends located directly above each one. All 10 playback faders feature Flash, Go and Select (via its touch display), while the 10 space-saving Executor playbacks employ a Select and Execute button for each one. Suitable for live events, ChamSys says this adaptable product can also be used in any application where additional playbacks are wanted for extended control.

Giving its customers greater choice, the company has also released the GeNetix TouchScene series. Designed for the installation market, the GeNetix TouchScene and the GeNetix TouchScene MINI are wall-mounted touchpanel displays that enable remote scene activations at the press of a button. With cues provided through a ChamSys control system, the TouchScene family provides precise remote control of the system across various levels of operation. The larger TouchScene features an 8-inch display, while the Touch MINI has a 4-inch screen. Both integrate with MagicQ, QuickQ and GeNetix Nodes for cue activation, and both have customisable UI layout designs when connected to MagicQ Quick Q Systems. With the ability to display button functions directly on the display, the TouchScene display can be customised for flexibility, can show faders instead of buttons or a combination of both.

www.chamsyslighting.com

WITH FOUR fresh-to-market products, Italian lighting expert Claypaky has been busy. The Ultimo Hybrid combines an IP66 rating and extended lamp life in a compact, lightweight fixture. Powered by a 550W short-arc lamp, it delivers a 19,000-lumen output and a lifespan of up to 4,000 hours, while its motorised linear zoom delivers precise coverage in both projection modes from tightly focused beams to evenly collimated spots. Despite its compact size, the fixture boasts a 160mm front lens, an advanced four-focal plane shutter system, a complete colour mixing system, and a rich package of gobos and effects. The Ultimo Hybrid also features Claypaky’s proprietary Absolute Position Innovation, a system that remembers the fixture’s exact position in real time without requiring a reset, even after power interruptions. The company has also introduced the Tambora Rays, a blend of volumetric effects and single pixel mapping with 9x3 rows of high-power RGBWW LEDs. With pixel-to-pixel control, a total of 27 single LEDs can be managed to create a variety of lighting effects. The Tambora Stormy is a pixel-mappable strobe light in

www.claypaky.it

a compact size, while the Mini-B Sparky Aqua is an IP66-rated fixture featuring highoutput RGBW SMD LEDs arranged in 10 individually controllable concentric circles.

Mad Maxx

VL600 Acclaim+ Series

VLHive 151 Digital FX

Tambora Rays

Rays of light

MagicQ Compact Wing

ADJ’s expanding catalogue

LIGHTING MANUFACTURER ADJ has expanded several existing product lines, as well as released new additions to its catalogue. The Ultra Beam Bar 12CW features 12 20W 6,200K (cool white) LEDs which each output a distinct beam of light with a concise 5° beam angle. Smooth dimming control allows each LED pixel to be controlled separately, either via DMX or using the fixture’s 13 built-in chase programmes. A “pixel flip” mode is also included, which inverts chase patterns to run in the same direction regardless of the orientation of the unit.

The Hydro Flex L19 and Hydro Flex L7 are LED wash-zoom fixtures featuring 19 and seven RGBL colour mixing LEDs, respectively. They can output anything between a 5° beam and a broad 38° wash. They come with individual pixel control, Aria X2 wireless management and a host

of control options, including virtual CMY and foreground/background colour wheel control.

The UV Par 100IP features a 100W COB (Chip On Board) LED source, which has an average operational life span of 30,000 hours. It outputs ultraviolet light in the 390–399nm range, which generates a visible purple light as well as fluorescence effects that cause white and UV-active décor and materials to glow vividly. The fixture has a

wide beam angle of 120°, allowing a single unit to cover a wide area of a stage or crowd space. It also offers 0–100% dimming, variable speed strobing and an adjustable refresh rate.

Other new additions include the 40 HEX Panel IP LED wash panel fixture with 40 20W RGBAL+UV colour mixing LEDs, the Encore DBX IP65-rated full colour twin cell audience blinder/strobe, the Vintage X and Vintage Bar which have been designed to provide a focal point within a lighting rig and the PC415X power distribution centre.

www.adj.com

Quik on the uptake

AIMING TO combine ease of use, accurate performance and rapid setup, the QuikSpot is a flexible battery-powered LED lighting fixture by Astera designed to meet the demands of fast-paced environments in big events and media productions. The QuikSpot is an IP65-rated, zoomable, single-source spotlight that aims to bridge the gap between lighting applications and maximise ROI. Weighing just 3.5kg, the QuikSpot is Astera’s brightest luminaire under 60W and produces up to 3,000 lux at 3m (13°). A new OutputGain feature allows users to choose between maximum output and deep colour saturates, or higher CRI with perfect skin tones. Meanwhile, its QuikTurn zoom mechanism offers a 13 60° zoom range and achieves wider beam angles free from colour shifting and multiple

shadows. The beam can be further shaped via elliptical rotatable filters and the SafetyLink-ready

FOLLOWING IN the footsteps of Cobra, Ayrton has unveiled Mamba. Described as a versatile lighting concept equipped with a laser source twice as powerful as Cobra, Mamba can deliver a multitude of new psychedelic effects said by the company to be “nothing short of spectacular”.

The first laser-sourced IP65 fixture in Ayrton’s 6 Series, Mamba features 18 motors dedicated solely to effects creation, as well as a selection of 92 fixed and rotating metal gobos across two wheels, specifically designed to sculpt light in “beam” mode. An endlessly rotating ovoid animation wheel adds to its arsenal.

The gobos can be paired with an initial level of two palettes, each containing four individually rotating, indexable prisms that can be combined. These can then be linked to a second level of four combinable prisms situated at the front of the fixture, enabling the creation of complex volumetric effects. Completing its graphics toolkit are two frost filters.

Another advantage is in its front diameter, as all existing AX5 front attachments such as filters, domes and snoots will also fit the QuikSpot. But unlike the AX5, the QuikSpot uses Astera’s proprietary Titan LED Engine colour mixing system with OutputGain, providing rich, deep colours alongside in-camera advantages and a sleek aesthetic. The QuikSpot offers both wired and wireless operation, with a maximum battery run time of 4.5 hours at full power with OutputGain activated, and up to 20 hours in energy-saving mode. When used wirelessly, the QuikSpot’s in-built batteries can be charged directly in the case and through electrical contacts. Meanwhile, rigging options include a removable yoke, TrackPin Compact for minimal height when hung and a 3⁄8-inch BabyPin thread in the back for added flexibility.

www.astera-led.com

The fixture introduces a new colour section, including a high-definition gradient CMY mixing system and an instant-access, multi-position wheel equipped with 15 complementary colour filters, two multicolour filters, two CTP correctors, a progressive CTO and three multicolour animation sections – RGB, CMY and RGB+CMY –spread over two concentric circles. Fitted with a 250mm front lens, Mamba’s proprietary 13-lens optical system offers a 21x zoom range and an operating span from 0.7–15°. With continuous pan and tilt rotation, this fixture becomes a universal tool.

ADVATEK HAS announced the launch of its PixLite R1F-S receiver and PixLite T16X-S transmitter. The receiver, with its smaller form factor, has been specifically designed for installations in tight spaces. Supporting up to 1,020 RGB pixels per data run, the R1F-S offers advanced mounting options, seamless integration and reliable signal performance, even in the most challenging environments. It comes with a 5–48V input range to provide compatibility with more pixels.

The IP65-rated Mamba operates both outdoors and indoors – even in saline environments – while maintaining full accessibility. Weighing 41kg, it is equipped with a sun protection system and an integrated heating system that withstands temperatures as low as –20°C. www.ayrton.eu

The transmitter is engineered for longrange performance, offering 16 outputs that each support up to 1,020 RGB pixels. Designed to reduce control costs, the T16-S enables data transmission distances of up to 300m, making it suitable for largescale projects. Both have been designed with advanced mounting options for easy installation.

www.advateklighting.com

Ultra Beam Bar 12CW

UV Par 100IP

All change

Chris Dodds diversification in the face of unexpected events can lead to new

INCEPTED IN 1971, THE P.A. PEOPLE IS WIDELY regarded as a reliable force in the world of theatre and concerts. As the industry blew away the Covid cobwebs, The P.A. People embarked on a period of significant expansion. Then, in August 2023, HME Services went into voluntary administration. Having rubbed competitive shoulders with the specialist designer and integrator for decades, Chris Dodds was as shocked as any to witness 70 experienced staff being made redundant in Sydney, Melbourne and Brisbane. Just a year before, HME Services had acquired Jands Venue Engineering (JVE). Suddenly, The P.A. People emerged as the go-to-specialist within the theatrical service community.

“It was totally circumstantial,” says Dodds. “Having informed the market of our activity in the engineering space only 18 months earlier, we decided to take advantage of this unfortunate situation and made the decision to expand. The situation meant that we were the natural choice for those theatres who could no longer be maintained by HME Services and, as a result, picked up the lion’s share of their order book.” In addition to immediately offering employment to 20 of HME’s professional staff, The P.A. People opened an office in southeast Queensland, followed by an office in Perth for servicing Western Australia-based customers.

The P.A. People had already announced its venture into venue engineering in 2022 together with respected industry stalwart Peter Grisard. “Twenty years ago, our main payday was deploying large-scale audiovisual systems in stadiums,” reflects Dodds. “Business has since evolved, margins have decreased and, as a result, the decision was taken to move into venue engineering, because we felt the space was underserviced and required value to be

Key growth areas include the Venue Engineering Division, in addition to operational requirements in marketing, manufacturing and servicing

added. I fully understood that there was very little value to be added at the AV integration level anymore. We also felt the time was right to increase the support we can offer our installation and service customers in Western Australia. Like Sydney, there has been some consolidation in the local business, with one company being sold to another. Given the time differences and distance, it was never really practical to service these contracts from the east coast.” Dodds had been sensing that the industry was realigning itself, and that new opportunities would come with this. The company relocated to Greenacres in southwest Sydney which became operational in January 2024. The 3,600m 2 facility provides the capability to design, engineer, manufacture and integrate theatre machinery, as well as performance audio and lighting and AV systems. The facility has technical spaces, fabrication workshops, an electrical assembly area, warehouse and office spaces. It also houses the event communications team and incorporates a comprehensive event preparation space.

Venue Engineering Division, in addition to operational requirements in marketing, manufacturing and servicing. Significant rebranding of the company’s image has occurred in the media, at tradeshows and the launch of the new company website.

Since acquiring TheatreQuip, The P.A. People also has an inhouse drape fabrication facility including a substantial sewing room. Here, a variety of drapes and theatrical cloths from specialty fabrics can be tailormade for customers.

“There are four distinct parts of The P.A. People business,” explains Dodds. “Number one is event communications. In addition to possessing the largest communications rental house in Australia, the team also offers a significant yet specialised inventory of audio equipment. Secondly, our new expansion into the Venue Engineering space includes the business portfolio for lighting bars, curtain tracks, drapes and chain hoists as well as bespoke mechanical equipment. Next is the traditional AV systems integration business, and finally there is sales and servicing, which in addition to the maintenance aspect has grown substantially because we have a duty of care to service the machinery for our clients.”

This is by no means the first seismic industry change that Dodds has experienced. Growing up in Canberra in the 1960s, he was captivated by his father’s electronic

groundbreaking audio and communications technologies. When Bose Corporation established itself in Australia in the early 1980s, Dodds was hired to service products. Relocating back to Canberra, he revived his PA business in a partnership with what became The P.A. People in Sydney, opening a line in pro audio retail. Close relationships with Opera Australia and Carols in the Domain saw The P.A. People appointed as a provider of Bose 802 systems, while events with the Sydney Symphony Orchestra took the company to a new level in the production market with a Turbosound loudspeaker inventory that served artists including Diana Ross and James Taylor. Under the Creative Audio banner, Dodds turned his hand to global wireless event communications with contracts including repeat performances at Olympics and Commonwealth Games ceremonies.

Not only was Dodds in the right place to steer The P.A. People into new waters, but his experience is an inspiration to others adapting to the changing global rental market.

www.papeople.com.au

The P.A. People managing director Chris Dodds

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