Pro AVL Asia May-June 2018 by Blank Canvas Publishing Ltd

LIVE SOUND

LIGHTING

RECORDING

INSTALLATION

A/V

BROADCAST

POSTPRODUCTION May–June 2018

POWER TO THE PEOPLE Breaking the mould at Republic TV

FEVER PITCH AT GBK ZAHA HADID’S MEIXI LAKE AUDIO POST AT MEDIACORP

PROLIGHT + SOUND REVIEWED Singapore: MICA (P) 103/06/2017 PPS 1604/05/2013(022953)

Perfecting the Art of Live Sound Ofﬁcial Yamaha Pro Audio Instagram Account

@yamaha_proaudio_ofﬁcial

www.yamaha.com/proaudio

CONTENTS

Volume 17 Issue Three May–June 2018

NEWS NEWS M Studio established, Sennheiser relocating Beijing operations

SPECIAL REPORT Thinking local with Vega’s Indonesian branch

EDUCATION Smaart training delivered across Asia, QSC jams in China

DISTRIBUTION New partners for RCF, Analog Way and Coda Audio

APPOINTMENTS Changes at Overtone, Ross Video and Peerless-AV

NEW PRODUCTS The industry’s most comprehensive product news

FEATURES STAR PERFORMANCE Singapore’s Star PAC installs Riedel’s Bolero

FEVER PITCH Gelora Bung Karno prepares for the Asian Games

100

REAL-WORLD RADIO Doubling the Lawo count at Temasek Polytechnic

102

AHEAD OF THE CURVE Equipping Zaha Hadid’s Meixi Lake

104

TEACHING AT THE TOP Inside SEAC’s state-of-the-art facilities

106

MIXING WITH THE BEST Mediacorp’s MMS raises the bar for audio post

110

COVER: POWER TO THE PEOPLE Breaking the mould at Republic TV

114

LEAVING LAS VEGAS Creating Full Throttle Entertainment

116

HALF A CENTURY OF CLEAR-COM Backwards compatible for 50 years

118

Editor’s note It’s always fascinating to get out and discover how the technology we feature in our pages and on our websites is performing in the real world, whether in developing countries or regions where A/V industries are more established. On a recent trip to Hanoi, last visited in the mid-1990s, I rediscovered a city transformed into a vibrant metropolis of hotels, museums, bars, restaurants and a growing amount of nightclubs, all starting to identify their A/V needs. The country’s state broadcasters are also headquartered here, and they are now installing the latest digital technology, although some interesting vintage pieces document their transition through the decades. Upgrades are being carried out at leading universities, and all these developments will be covered in future issues of Pro AVL Asia. Then onto Beijing, where the latest in A/V technology was on display at InfoComm China (see pp 130–131). According to research by show organiser Avixa, the market for A/V products and services in China will be worth 250 billion yuan by 2022. And witnessing the construction and development projects in just one Chinese city, it’s easy to see how these figures stack up. Staying with the theme of Chinese benchmarks, this issue reveals the latest project from Zaha Hadid Architects, a company known for its astonishing building design. Turn to pp 104–105 for a look at Changsha Meixi Lake International Culture and Arts Centre. We also bring you a scoop on Indonesia’s Gelora Bung Karno National Stadium (pp 100-101), a new Indian TV station currently making noise (pp114–115) and take you inside Mediacorp’s new postproduction facility. We hope you enjoy our May/June 2018 issue, also available online at www.proavl-asia.com

BUSINESS LETTER FROM AMERICA Dan Daley muses on net neutrality

120

LETTER FROM EUROPE Phil Ward on Soho’s disappearing post houses

120

TECHNOLOGY Dennis Baxter on mixing for soundbars

122

SHOW REVIEW Does ABU provide something different for broadcast?

124

SHOW REVIEW Is Prolight + Sound still an important international show?

126

SHOW REVIEW Did InfoComm China live up to its high expectations?

130

R&D How PMC approached entering a new market with result6

132

ANALYSIS What is the future for SSL under Audiotonix’ ownership?

134

inside 46

106

102

130

LICENCES: Singapore: MICA (P) 103/06/2017; Malaysia PPS 1604/05/2013 (022953) All rights reserved. No part of this magazine may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or by any information storage and retrieval system, without prior permission in writing from the copyright owners.

www.proavl-asia.com

Email: cmoss@proavl-asia.com

Contacts Richard Lawn: General manager

Sue Gould: Advertising director

John Leonidou: Deputy editor

rlawn@proavl-asia.com

sgould@proavl-asia.com

jleonidou@proavl-asia.com @proAVLjohnl

Simon Luckhurst: Senior reporter

James Cooke: Reporter

Carolyn Valliere: Sales associate T: +1 562 597 1534

sluckhurst@proavl-asia.com

jcooke@proavl-asia.com

cvalliere@proavl-asia.com

James Ling: Senior editor jling@proavl-asia.com

Adrian Baker: Production editor abaker@proavl-asia.com

Karen Wallace: Editorial coordinator kwallace@proavl-asia.com

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

Marne Mittelmann: Circulation manager circulation@proavl-asia.com

Jo Pugh-Jones: Production controller jpj@proavl-asia.com

Raymond Boey: Singapore office T: +65 6457 2340 rboey@proavl-asia.com

Frank Shao: Beijing manager T: +86(10)86525184 frank@proaudioasia.com.cn

Sue Su: Guangzhou manager T: +86(20)85633602 ssu@proavl-asia.com

PUBLISHED BY 17 Upper Grosvenor Road, Tunbridge Wells, Kent TN1 2DU, UK Telephone: +44 1892 676280 Email: info@proavl-asia.com

@ProAVLCentral

@ProAVLAsiaMagazine May–June May–June2018 2018PRO PROAVL AVLASIA ASIA 33

NEWS

JAA.S and Medialab Alliance establish M Studio

Azhar bin Abdul Latiff of Medialab Alliance and JAA Systems’ David Chan MALAYSIA: Following its inception in 2014, JAA Systems Sdn Bhd (JAA.S) has successfully enhanced both the branding and sales for Jünger Audio, Klotz Communications, Orban, Prodys, JK Audio and Merging

Technologies in Malaysia. Having taken stewardship for Calrec in 2016, the Selangor-based company has taken Calrec beyond Malaysia into Thailand, Indonesia, the Philippines and Singapore. Having recently relocated to a

new and wholly owned ofﬁce in the Kuala Lumpur suburb of One City USJ, JAA.S has teamed up with systems integrator Medialab Alliance Sdn Bhd to build the M Studio. Established primarily as a fully operational training room,

M Studio also serves as a fully fledged radio on-air and production studio suite for private hire. Outfitted over a 6-week period, M Studio is an acoustically treated space outfitted with a Klotz Digital Graphite console, Audio-Technica microphones, Genelec 8030 monitors, radio automation systems and a Merging Pyramix DAW. ‘The Prodys IP codec allows M Studio to operate over an audio over IP network and broadcast live audio from here to any part of the world. Therefore, anyone can do live recording, interview and programme at M Studio,’ explained JAA.S MD, David Chan. ‘We hope to extend our clientele to a wider audience including overseas broadcasters who are seeking a short-term location in Kuala Lumpur, Malaysia. ‘JAA.S focuses on distribution, trading, design and consultancy

services when required, while Medialab Alliance is a reseller that provides bespoke systems integration and service maintenance within the broadcasting sector,’ added Mr Chan. Operating in the same complex, the new collaboration for the M Studio facility aims to complement and strengthen both businesses. Medialab Alliance technical director Azhar bin Abdul Latiff gained invaluable technical experience as a broadcast engineer at Astro Radio before working for Stagetec Asia where he met Mr Chan. ‘With M Studio, we will assist new broadcasters with training in addition to content creation,’ commented Mr Latiff. www.jaasys.com www.medialab.asia

Sennheiser relocating Beijing operations CHINA: Sennheiser recently invited business partners to an event at its Beijing ofﬁce in celebration of the manufacturer’s wholly owned Chinese subsidiary’s 10th anniversary. During this event, Pierre Eloy, Sennheiser’s managing director for Greater China, announced that its local operations will be relocating to The German Centre in Beijing’s Chaoyang District. Sennheiser’s co-CEO, Daniel Sennheiser, ﬂew in from Germany for the event. Commenting on the move to The German Centre,

Ruth Schimanowski breaks bread with Daniel Sennheiser he said: ‘It’s always been our strategy to highlight our German heritage because it makes us different and represents the attention to detail we put into our products. For us to be in

The German Centre amongst our colleagues will allow us to showcase the quality of our products while remaining very close to our customers in China. China is a great market for us and

I am looking forward to continuing success here.’ ‘There are 130 German companies in The German Centre,’ said Ruth Schimanowski, managing director of The German

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4 PRO AVL ASIA May–June 2018

Centre. ‘We will become a very good business partner for Sennheiser and fulﬁll the needs of such an international corporation.’ Iris Gong, business development manager for Sennheiser, followed up with a presentation highlighting the manufacturer’s business conference communication products. She communicated with the Microsoft Beijing ofﬁce, which is equipped with Sennheiser’s conference products to demonstrate their functionality. zh-cn.sennheiser.com

Don’t let the limits of the spectrum define the size of the sound. Axient Digital delivers 184MHz of tuning bandwidth, Quadversity™ antenna diversity, and up to 47 active channels per 6MHz TV band, for impeccable audio every time. Learn more at www.shureasia.com/go/axientdigital

NEWS

Louis Hernandez Jr terminated as Avid CEO WORLD: Avid’s board of directors has terminated the employment of CEO Louis Hernandez Jr due to what it describes as ‘violations of company policies related to workplace conduct’. Mr Hernandez’ dismissal comes at a time when companies worldwide are increasingly coming under fire for employee-related misdemeanours; could it now be the turn of the A/V industry? A press release issued by Avid states that ‘with the assistance of independent external legal counsel, a special committee comprising independent members of the board of directors conducted a thorough investigation into allegations of improper non-financially related workplace conduct by Mr Hernandez. After reviewing the findings of the special committee’s investigation, the board of directors

Louis Hernandez Jr unanimously concluded that the ﬁndings warranted immediate termination of Mr Hernandez’ employment.’

In addition, Mr Hernandez has resigned from his position on the board of directors, with Nancy Hawthorne taking over as the chairman of the board. ‘The board is committed to the company’s core values and to upholding an environment of the utmost respect and integrity,’ said Ms Hawthorne. ‘We remain confident in the strategy and the long-term business plan of the company.’ Replacing Mr Hernandez Jr as chief executive officer is Jeff Rosica, who was formerly the manufacturer’s SVP, chief sales and marketing officer. ‘Given his background and deep connection with the industry, we’re ecstatic about Jeff’s appointment,’ commented Jim Sheehan, vice president of corporate communications at Avid. ‘He’s stepped into the CEO role after

Jeff Rosica is the new Avid CEO serving for over a year as president and running our global sales and marketing since 2013, in that time making major contributions to our

company’s transformation.’ In addition to his ﬁve years of experience at Avid, Mr Rosica is an industry veteran of more than 30 years. ‘Jeff’s deep experience as an industry expert coupled with his impressive knowledge of Avid’s business and strategy make him the natural choice to lead the company,’ added Ms Hawthorne. ‘I am honoured and excited for this opportunity to lead Avid through this important moment in the company’s history,’ said Mr Rosica. ‘The outlook for Avid is strong, and I look forward to working with the leadership team, the board and our incredibly talented employees as we execute on our strategic priorities and continue our journey to be a best-in-class company and leader in our industry.’ www.avid.com

Bose works out SINGAPORE: Having developed a niche in equipping A/V systems into Singaporean fitness centres over two decades, Audiosports’ project director, Nelson Tan, is the go-to man when a new facility requires enhanced SPLs, curated music, digital signage and IPTV to be interwoven within its fabric. When Pure Fitness made the decision to invest in a super-sized level-eight space in Ngee Ann City, Mr Tan and his team knew that the condensed timeframe allowed on site to complete the tender would test their own levels of fitness and stamina. As a result, Audiosports’ own workout at Pure Fitness now allows members to get in the zone within this luminous atmosphere. During inductions, new members are given the full tour including the expansive athletic turf, a 30m sprint track, circuit zone, gymnastics equipment, Strongman area, private stretch studio, dedicated boxing area and immersive fitness studio.

The venue’s audio system is powered by two Bose PowerMatch PM8500 8-channel power ampliﬁers, DSP settings are stored in a ControlSpace ESP-880 processor and power conditioning/ sequencing has been delegated to a Furman CN-3600 SE unit in the rack. A group exercise room is furnished with an interactive wall display comprising nine 49-inch LG HD TVs and six Bose Panaray 802 speakers visually concealed in the Bose Professional’s Yusof Ahmad with Audiosports’ Nelson Tan at Ngee Ann City’s Pure Fitness gym Ubiquitous to all these areas – including the changing rooms – is the A/V integration in which zoned audio is streamed at various SPLs. A wall-mounted speaker solution was ruled out in favour of a ceilingsuspended system at the latest location. ‘The management wanted the sound system to aesthetically blend into the interior décor and surroundings, while providing even

A console in the group exercise room contains Bose microphone inputs and a Furman RS-2 remote system control panel

6 PRO AVL ASIA May–June 2018

inputs that control the audio levels, while a Furman RS-2 remote system control panel provides simple on/off operation. ‘We prefer to use Bose in the ﬁtness centres we install as the mid-range is very prominent and provides excellent intelligibility and vocal clarity for ﬁtness instruction,’ commented Mr Tan. ‘The back-up, support and warranty is excellent, while the Bose brand is recognised amongst most Pure Fitness members.

coverage without reverberation,’ offered Mr Tan. ‘Being on the eighth level, the sound could not penetrate the lower levels where there are corporate ofﬁces, so the false ceiling has an acoustic lining above.’ The audio setup includes 15 Bose RoomMatch Utility RMU206 models coupled with eight Freespace 3 in-ceiling bass modules. A further 12 FreeSpace 3 DS40F ﬂush-mounted 4.5inch speakers providing a 125° conical pattern with a frequency range down to 70Hz have been ceiling-mounted and divided into the tur f, cardio and general zones. In addition, six sur face-mount RoomMatch Utility RMU-206 cabinets have been inser ted and angled into the ceiling at the front of a raised stage area. The system is completed with an additional 20 DS-16F in-ceiling speakers that ser ve the male and female changing rooms.

Pure Fitness’ latest location in Ngee Ann City presented challenging acoustics for Nelson Tan and his team ceiling. Connected to a ground-fixed console adjacent to the instructor’s stage, inputs including streamed media or MP3 audio files can be sent to the A/V outputs. In addition to iPod playback, fitness gurus equipped with Shure headsets that operate over SLX wireless frequencies offer instructions to members during workout sessions. Intuitively integrated into the console are four Bose microphone

‘The venue was previously a nightclub, so we knew the 15m ceiling height at the apex of this venue would be a challenge, but as we’re not pushing the SPLs to club levels and are directing the audio into the ﬁtness areas, this isn’t a problem.’ www.audiosports.com www.bose.pro.com www.pureﬁt.com

NEWS

Wireless conferencing without interruption JAPAN: The Belle Salle Roppongi Conference Center in central Tokyo is formed from nine conference rooms, five of which were in need of a wireless microphone solution. A Shure Microflex Wireless System was recommended by A/V installer, Sanken Systems. ‘Out of all the conference venues our company oversees, the Roppongi facility has one of the best audiovisual systems,’ declared Toshiharu Kasai, facility operations manager at Belle Salle. ‘In terms of microphone systems, we required a wireless solution to operate licencefree and handle 20 channels simultaneously – four channels per room.’ The Microflex Wireless system makes use of the 1.9GHz band (DECT band) and therefore negates the need for a licence. However,

functionality enables the system to automatically avoid frequencies used by PHS (personal handy-phone systems), while Microﬂex Wireless’ High Density Mode doubles the number of useable channels. ‘From the moment it was installed, Microﬂex Wireless worked perfectly,’ said Mr Kasai. ‘However, we were asked by our clients if we could shorten the system start-

overwhelming advantage is the sound quality, which has also been commended by our clients. We also appreciate the easy-to-use linking functionality; when microphones get moved between rooms, we can simply pair them with the new, local access point by docking them into the Networked Charging Station and pressing the “Link” button. Because we are a for-hire venue,

up time. Shure promptly sent a representative to provide on-site adjustment and even offered us additional recommendations to improve the stability of our system. ‘My experience with Microﬂex Wireless has now shown me several advantages over other systems,’ he continued. ‘One

we host a variety of people and groups. Prior to adopting Microﬂex Wireless, we would use wired microphones and other security measures for clients concerned about conﬁdentiality; however, that is no longer necessary.’

A ceiling-mounted Shure MXWAPT access point receiver consumer technologies such as cordless phones in Japan use the same frequency band, which creates possible interference. Microﬂex Wireless is able to overcome this via its Automated

Frequency Coordination capability, allowing it to continuously scan the spectrum and coordinate available frequencies for all microphones. In addition, the system’s PHS Detection and Exclusion

www.shure.com

Epson strengthens its hold in Vietnam

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8 PRO AVL ASIA May–June 2018

VIETNAM: Epson has opened a new sales subsidiar y in Vietnam, having previously sold products in the countr y through its ofﬁce in Thailand, as the company looks to expand its business operations in the region.

countr y, with a GDP forecast of 6.3% in 2017. We look for ward to rolling out new Epson products in our four key areas of innovation: inkjet, visual communications, wearables and robotics.’ Operations at the new subsidiar y ofﬁcially

‘The establishment of the ofﬁce in Vietnam will strengthen Epson’s business and brand in the region,’ said Hideto Nakamura, general director, Epson Vietnam. ‘There is much potential for growth in the

got under way on 1 April. The company had previously opened a Vietnam representative ofﬁce focused on market research back in 2010. www.epson.com.vn

NEWS

Getting with The Times CHINA: Lab Beijing supplied an L-Acoustics K system for Wang Feng’s recent gig at the Bird’s Nest stadium, which kicked off the rock star’s The Times Tour. The K system was speciﬁed by FOH engineer Shaogang Jin, who managed the setup from a DiGiCo SD7 provided by Racpro. Mr Jin chose the L-Acoustics solution due to a combination of its long throw and even coverage capabilities, its rugged and waterproof design, and the ease of tuning afforded by LA Network Manager. He used the manufacturer’s Soundvision 3D acoustical modelling programme to design the setup, which comprised 44 K1, 96 K2 and 24 Kara, as well as 24 ﬂown K1-SB and 40 groundstacked SB28 subwoofers. The K1 and some of the Kara cabinets

on Alvin’s extensive experience for advice in getting the best out of the system.’ Mr Jin and Guobang Lu managed the SD7 at FOH, while

The SD7 at FOH were used for the main L-R hangs, while the K2 enclosures served as out-fills and the remaining Kara units were employed for front-fill. The entire system was driven by 86 LA8 amplifier controllers. L-Acoustics’ application engineer Alvin Koh was on hand to provide technical support at the Bird’s Nest. ‘The support from L-Acoustics was excellent,’ said Mr Jin. ‘We knew we could count

The L-Acoustics main PA

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10 PRO AVL ASIA May–June 2018

monitor engineers Yong Shao and Longfei Ai utilised an SD5. The SD7 was equipped with DiGiCo’s DiGiTube technology to add an ‘authentic analogue style warmth’ to the production. ‘We have found the Waves integration, DigiTube and Dynamic EQ on the consoles particularly useful,’ said Mr Lu. ‘We have full access to Waves plug-ins and can adjust the plug-in parameters directly with the “touch and turn” encoder on the console work surface. It’s very powerful, really

useful and makes mixing way more convenient. As the signal processing is inside the console, it doesn’t need a DSP rack and means we just need to connect the ﬁbre cables to the SD-Rack and the system is ready to go. And that has the added advantage that we just need two ﬂight cases worth of equipment, which is a great saving on truck space.’ www.digico.biz www.l-acoustics.com www.racpro.net

Bosch bolsters Suzhou skyscraper security CHINA: Bosch has provided the security system – including video surveillance, intrusion alarm, access control and public address systems – for the newly constructed Suzhou Zhongnan Center.

are managed from the main control centre. Intrusion detection is managed by seven DS7400 Intrusion Panels comprising over 200 sensors. Each of these can be programmed for up to eight areas and are

Bosch provides state-of-the-art security to the ultra-modern, multi-use complex in China More than 3,200 Bosch HD cameras have been placed throughout the 729m-tall building in Suzhou. The ﬁxed Dinion and Flexidome IP cameras together with Autodome IP PTZ cameras will be used for surveillance. The Autodome IP dynamic 7000 HD cameras also feature object tracking – including the Intelligent Tracking function – which will allow security personnel to track moving targets automatically. Intelligent video analytics embedded in the Autodome IP cameras can trigger alarms automatically when a pre-deﬁned alarm rule is met, alerting guards and identifying potential security issues. A total of eight Bosch Video Management Systems (BVMS) integrate all 3,200 cameras that

programmable by local keypad or remotely. Access control is handled by two installations of Bosch’s Access Professional Edition (APE). APE controls doors, making sure only authorised personnel can enter restricted areas. It also exchanges information regarding door control and door status with the other security systems. For public address and evacuation instruction, a Praesideo system is in place with over 5,000 ceiling and cabinet speakers that are separated into over 80 zones and managed by two control centres. The system can also provide background music in the public areas of the skyscraper. www.boschsecurity.com

NEWS

Lawo goes Filipino RMP energises Mr Fox

The ABS-CBN team PHILIPPINES: Control Rooms 3 and 10 at ABS-CBN Corporation’s TV production studios in Quezon City have been equipped with Lawo mc²56 audio consoles by Broadcast Communications International. This marks the ﬁrst Lawo installation in the Philippines. The new IP-based desks were purchased to replace a pair of dated consoles. The mc²56 units possess 64 faders and provide 270 DSP channels, a routing capacity of 5,120x5,120 crosspoints, integrated Waves SoundGrid servers and connectivity via four Dallis I/O

frames. Following a period of testing and training, the consoles are now fully operational. ‘We are proud to have our ﬁrst large-scale installation in the Philippines,’ said Tan Boon Siong, Lawo’s sales director for South East Asia. ‘With this, we have entered a new relationship with ABS-CBN, and are conﬁdent that we are able to provide our best support, services and technology – not only to ABSCBN, but to all our customers in the Philippines.’ www.bci.com.sg www.lawo.com

INDONESIA: No stranger to the high-ranking tables within Jakarta’s inner sanctum of F&B outlets, Rhema Multi Perkasa (RMP) continues to attract new business with referrals and plaudits from its extensive network of satisﬁed customers. The Ismaya Group, however, has been a long-term client and when it acquired this latest property in the SCBD, Mr Fox, it had no hesitation to turn to its long-term audio designer and installer.

A Martin Audio signature combining CDD5 cabinets and CSX112 ceiling subs characterises Mr Fox

Combining a bar, relaxed seating area and dining tables under one roof, RMP added its expertise prior to Mr Fox opening its doors in the upmarket setting of The Energy Building. The RMP team installed a Martin Audio speaker design into the new establishment with

wall-mounted CDD5 cabinets in all three zones, while discretely installed CSX112 ceiling-mounted subwoofers enhance the lower frequencies throughout. Powered by Powersoft Q4002 ampliﬁers, the DSP in Mr Fox is reﬁned by way of Martin Audio DX0.5 processors in all three zones. An ARX MaxiSplit distribution splitter provides audio control for both zones, for which an

Apple iPod is predominantly used as the main source. Meanwhile, the ambience is lifted during certain evenings when either live musical ensembles or a mobile DJ system comprising twin Pioneer CDJ850 turntables and a DJM900 NXS II mixer can be patched in. www.ismaya.com www.rhemamultiperkasa.com

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

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

NEWS SOUNDBITES AN ORIGINAL UPGRADE CHINA: Tiancaozhijian Original House is a music venue in Beijing’s Chaoyang District. It hosts live performances from artists spanning a wide variety of genres and has recently been upgraded with a Verity Audio system.

The French manufacturer was selected for the compact size of its systems, which occupy little room in the small venue, as well as its high SPL. The main PA comprises three IWAC210 loudspeakers and a Sub115T subwoofer per side, while six Ambience Col16.3 speakers form a surround setup around the venue along with Sub210v compact subwoofers to offer 7.1 reproduction. ‘Ambience systems are small but elegant and merge into the decoration perfectly,’ said the Tiancaozhijian owner. ‘People feel immersed in the music without noticing where it comes from.’

Dual audio for a venue with multiple personalities INDONESIA: Located in Jakarta’s SCBD, The Pallas opened its doors in 2017 to reveal the interior design of a nightclub born out of an old cathedral. However, the commanding central bar surrounded by couches, sofas, tables and chairs creates the appearance of an old colonial drinking club. The Pallas therefore attempts to indulge everyone. Depending on the time, the day or the mood, this event space can be used as a lounge or a restaurant hosting live music, top DJs or even a jazz orchestra from its stage furnished with a grand piano. Private hire is also promoted as the lateral wall can be opened to allow cars or boats entry for displaying at product launches and corporate events.

www.verityaudio.com

WYRESTORM EXTENDS WARRANTY WORLD: WyreStorm has extended its warranty from three years to ﬁve. This affects all of the manufacturer’s products from its Installer and Pro AV Solutions ranges worldwide purchased from 1 January 2018, with the exception of the WyreStorm Express line, which keeps its 1-year warranty.

‘The warranty extension from three to ﬁve years clearly demonstrates our commitment to both our partners and end users,’ said Vincent Philippo, WyreStorm VP of international sales. ‘It means our customers now have one of the highest possible levels of protection and ultimate peace of mind.’ www.wyrestorm.com

12 PRO AVL ASIA May–June 2018

A Yamaha QL5 digital console was selected for FOH mixing

Its split personality has been extended to the dual audio system installed within the 2,000-capacity space. Following the successful integration of a Nexo audio system in Bali’s Mirror club, the same owner contracted the services of ASIIS Indonesia to provide BGM and FOH systems for its Jakarta venture. ‘The club’s opening hours are generally from 11am until 2am, seven days per week, so the demand on the audio system to perform reliably and consistently for a large variety of acts was high,’ commented ASIIS director, Andy M Sutikno. As such, L-R Geo S12 2-way line source arrays have been installed on steel frames protruding from the rear wall as the main FOH system. The six per side modules are augmented in the lower frequencies by dual LS18 subwoofers on each hang extending the low frequencies down to 35Hz. The addition of a further three dual RS18 dual 18inch subwoofers ground stacked below in omni-mode reduce it further to 28Hz, creating sub bass deﬁnition for modern EDM music without integrating infra subs to the setup. ‘Many bands who perform here return to use the venue for rehearsals whenever they can,’ furthered Mr Sutikno. ‘The dispersion pattern is really tight and does not react with the room, which really helps to reduce the effects of high RT60, although it can be in your face when you need it to be.’

The Pallas is a unique venue in Jakarta’s bustling nightlife

BGM in the seated areas is provided by a Quest MX801a system The entire speaker system is both powered and processed by three NXAMP 4x4 4-channel ampliﬁers. Digital FOH mixing is performed on a 32-input/32-fader Yamaha QL5 console, which receives its microphone inputs on stage from a Rio 3224-D stagebox. A 16-fader QL1 handles up to 32 inputs of monitor mixes for all the artists that grace the Pallas stage, for which a total of eight self-powered Quest QM450a cabinets can be utilised as outputs. In addition to a range of wired microphones, the venue also offers several Shure PLX wireless channels.

Both consoles can be remotely mixed and managed via the Yamaha Stagemix interface on iPad control surfaces, while the Nexo loudspeaker system and NXAMP 4x4 ampliﬁers can be monitored from the NeMo system management software courtesy of the inserted Dante card. A separate BGM system has been installed where 16 Quest MX801a 8-inch passive speakers are mounted to rising columns parallel to the long central bar. Finished in white to blend into the décor and powered by two Crest CC4000 ampliﬁers, the daisychained enclosures operate in 16Ȑ mode. ‘It’s quite a unique speaker as the sealed enclosure design recreates a wonderful bass response ensuring we didn’t need to add subwoofers to extend the lower frequency response.’ www.asiis-indonesia.com www.thepallas.id id.yamaha.com

Stagetec Asia goes green GXULQJ RIÀFH PRYH MALAYSIA: Stagetec Asia has relocated its team to a new ofﬁce in Cyberjaya’s Tamarind Square, described as a ‘green building’. Stage Tec vice president René Harder ﬂew in from Germany to join Stagetec Asia managing director Advon Tan in formally opening the new facility. The ‘green’ nature of the new site provides Stagetec Asia staff with an environmentally friendly workplace, designed to save energy and surrounded by gardens. In addition, a rooftop area allows the company to run training sessions outside in the fresh air. As Tamarind Square is a commercial hub, it will also provide Stagetec Asia with greater

visibility than its former premises. Whereas the old office remained an anonymous workplace, the company has introduced signage to highlight its presence in Tamarind Square. ‘We have restructured the office to maximise the space by constructing a demo room and training space in the same building to ensure a more accessible showroom for our clients,’ added Syafika Ghazi’, of Stagetec Asia. ‘We are welcoming visitors to come by our demo room to see, feel and experience the exclusive features of Stage Tec audio consoles during weekday hours.’ The Stagetec Asia team with Stage Tec vice president, René Harder

www.stagetecasia.com

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NEWS

Silicon Valley comes to Bengaluru INDIA: Silicon Valley-based big data software company, Hortonworks, recently established a new Indian headquarters in Bengaluru. Having installed the A/V equipment at a smaller Hortonworks ofﬁce in India previously, Aesthetix Technologies was once again engaged to supply its services at the new site. ‘When we installed a smaller facility for them, they were pleased with the installation and the subsequent post-integration support,’ commented Sudan Mylsamy, managing director of Aesthetix. ‘For the new project, they were evaluating vendors based on their capability to understand Hortonworks’ global standards and to make recommendations based on local expertise.’ The scope of the project speciﬁcation included the building’s reception area, several meeting and conference rooms, a training room and the staff canteen. At reception, Aesthetix mounted a Sharp PN-R603 HD LCD television screen to the wall, which is fed from a PC that Hortonworks supplied itself via Aesthetix-installed Crestron cables and an HD-MD-400-C-E HD scaling

auto-switcher and extender. The ﬁrst of the meeting rooms seats six members of staff and has been equipped with a 65inch Panasonic LED screen that receives content from laptops and a wePresent server via a similar Crestron setup to the reception area, as well as an Apple TV system. Control and distribution of content is managed by a Crestron TSCW-730W-S touchscreen control system. A larger, 10-seat meeting room features the same Crestron control and distribution systems, wePresent and Apple TV, and is also kitted out

for web conferencing with a Vaddio RoboShot 12 USB PTZ camera, a ClearOne ChatAttach 160 USB speakerphone and a StarTech SuperSpeed USB 3.0 hub. Aesthetix also supplied the audio systems, installing four SoundTube RS600i

ceiling speakers and an Atlas Sound PA1001G ampliﬁer. There are two 12-seat meeting rooms. These are furnished with a Panasonic 84-inch screen and a Sharp 80-inch display, respectively. Mirroring the presentation, distribution, control and audio setups of the smaller meeting rooms, they both also include a shared video system combining Crestron HDMD4X2-4K-E 4x2 4K HDMI switchers and DM-TX-200-C-2G-x-T HDMI over HDBaseT extenders. ‘These two rooms are located opposite to each other,’ explained Mr Mylsamy. ‘The systems can be conﬁgured to enable both rooms to work in a manner whereby a single presentation led from one room can be shown in the second room simultaneously.’ The largest meeting room accommodates groups of 14 people who are able to view presentations on an 84-inch Christie FHQ842-T 4K interactive LCD display. This was installed alongside a Crestron DM-RMC-4K-100-C DigitalMedia 8G+ receiver and room control interface. Presentations are facilitated by a mix of Crestron,

Apple and wePresent systems, as well as an Extron DPM-HDMIF adapter, while web conferencing is handled by a Vaddio RoboShot 30 camera, Clockaudio CRM 102-RF table cardioid condenser boundary layer microphones, a pair of Biamp TesiraForté AVB VI processors and an Extron USB switcher. Sound emanates from the SoundTube RS600i ceiling speakers powered by an Extron XPA 2001 amp. Control and distribution are courtesy of a Crestron TSW-1050-B-S touchscreen and a DigitalMedia presentation system, respectively. The equipment is found within a Middle Atlantic Credenza C5 rack. The setup inside the training room is similar in many ways to those found in the meeting rooms. The differences come in the form of an Epson PowerLite WUXGA 3LCD projector instead of a television screen and the use of Shure microphones for leading seminars. ‘The client is impressed by the simplicity and reliability of the systems installed,’ concluded Mr Mylsamy. www.aesthetixtech.com

Exterity feeds Thomson Reuters (India) INDIA: Thomson Reuters (India) has deployed an Exterity IP video system to distribute video content to displays and employee computers at its eight regional ofﬁces across the country. This follows the successful use of such a system at its UK HQ. The Exterity solution utilises Thomson Reuters (India)’s

existing IP network to stream live television feeds from around the world to an unlimited number of local desktop users. The network is further extended to regional ofﬁces through the corporate WAN and provides curated content to areas such as the cafeterias and lobbies of each building. The system is managed via Exterity’s

AvediaServer. ‘India is one of the most dynamic and vibrant nations within a rapidly growing southern Asia market that is embracing video, digital mobility and innovative communication technologies,’ said Eleuterio Fernandes, VP sales EMEA at Exterity. ‘This exciting new project that highlights the importance of

delivering high-quality and reliable content – but also the need for ﬂexibility to adapt to new types of viewing devices in a high-pressure

environment where news has to travel fast and freely.’ www.exterity.com

NETWORKED AUDIO - UNIFIED CONTROL

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14 PRO AVL ASIA May–June 2018

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NEWS

Lighting manufacturers GHYHORS XQLÀHG IRUPDW

WORLD: Vectorworks, MA Lighting and Robe have pooled their resources to develop a new data format that aims to create a unified definition for the exchange of device data between consoles, CAD and previsualisation software: the General Device Type Format (GDTF). GDTF will provide lighting manufacturers with an open and universal data exchange format that can be read by any console manufacturer and be included in any CAD or previsualisation software, doing away with custom, one-off interpretations of DMX values and conversions for specific control data. The format is described as ‘human-readable, royalty-free and easy to implement and maintain’. ‘The industry has long been plagued by the absence of a

standardised way to define the description of intelligent luminaires,’ commented Dr Biplab Sarkar, CEO of Vectorworks. ‘Today’s exchange process is fraught with challenges. The workflows are disconnected, time-consuming and often require the manual mapping of data with a high chance of error. GDTF simplifies the entire process. It creates a common data exchange language that will be the basis of a fully connected workflow, from CAD to previsualisation to console and back. We look forward to collectively working with additional manufacturers to extend the benefits of this high-quality workflow to the professionals of the industry.’ Josef Valchar, CEO of Robe, described the new format as a

revolutionary means for users to control his company’s products. ‘It’s easy to adopt, and it makes it possible for us as manufacturers of intelligent luminaires to fully describe our ﬁxtures with detailed information without the need for any additional computational interpretation by control or visualisation manufacturers,’ he said. ‘Our main motivation was to make everyone’s life easier,’ concluded Gerhard Krude, managing director of MA Lighting Technology. ‘GDTF contains all the information required to control and visualise all kinds of devices like ﬁxtures, video, pyro, special effects or lasers in a standardised manner. It supports the manufacturers to structure and provide all the data to make their devices look the best – onstage and during visualisation. We count on the device manufacturers to contribute. They already have all the information their customers need to perform. Once our industry has adapted to the new GDTF standard, all our lives will become much easier.’ www.gdtf-share.com www.malighting.com www.robe.cz www.vectorworks.net

Fuzion immersing with Genelec THAILAND: Fuzion Far East is now offering a fully immersive sound experience at its premises. In a dedicated room, visitors are surrounded by a loudspeaker rig entirely made of Genelec studio monitors. Genelec 8351 for front, a mix of 8320A, 8330A and 8340A for surround,

gaming PC and provides a VR headset for gamers to tr y out an immersive setup. Those who already had the oppor tunity of a demo were impressed, like professional gamer ‘Patiiz PTZ’, who described it as ‘the most immersive experience I have ever had the pleasure of being in’.

Fuzion Far East’s all-Genelec 11.2 Dolby Atmos setup plus 7350A and 7360A subs fed from a Dolby Atmos processor enable an intense 11.2 encounter. According to Fuzion, presently it is the only fully immersive room in South East Asia using exclusively Genelec loudspeakers. To attract new clientele, Fuzion has also set up an Acer Predator

‘Aiming some of our top brands at the infamous gaming industr y has star ted to open up doors we did not think could be previously be opened,’ said Joshua Oates, Fuzion’s marketing director. www.dolby.com www.fuzion.co.th www.genelec.com

Experts employed at SBS Open Hall KOREA: LaON has installed a pair of LT750 Expert systems at SBS Open Hall in DeungChon-Dong, Seoul. SBS Open Hall is where Seoul Broadcasting System (SBS) broadcasts and records many of its television shows, including Inkigayo and People Looking

for a Laugh. The broadcaster chose LaON having employed the manufacturer’s products for its OB vans and newsrooms since 2014, to great success. SBS had been experiencing problems with its former wireless intercom system,

which would often ﬁnd itself subject to interruptions or simply shutdown during shows. Turning to LaON to replace this setup, the broadcaster requested two separate systems: one for the audio engineers, the other for the lighting team. The two LT750 base

L-ISA attracts partners WORLD: As L-Acoustics’ L-ISA technology continues to build momentum in the pro audio market, the manufacturer has announced that a number of high-proﬁle brands have adopted the technology as L-ISA partners, increasing the scope and networkability of the solution. These partners include Avid, Blacktrax, DiGiCo and Klang:technologies. L-ISA can be integrated into Avid’s Pro Tools via the AAX plug-

in. This provides engineers with the 96-input multichannel mixing capabilities of L-ISA to create a show mix or sound ﬁle needed to run an event or installation. The BlackTrax vision-based tracking system connects to L-ISA technology via the RTTrP (Real Time Tracking Protocol) open source protocol. Its integration with L-ISA allows sound engineers to automatically track the movement of a performer, enabling them to

16 PRO AVL ASIA May–June 2018

The L-ISA control plug-in for Pro Tools concentrate on the mix. When it comes to DiGiCo’s SD range of mixing consoles, L-ISA Source Control functionality is natively

integrated via Desk Link, adding L-ISA’s object-based mixing technology to the console’s control surface. The 96 L-ISA

stations have been installed in the audio and lighting control room, each connecting to an RTS wired system and RBS75 repeaters deployed in the main hall. www.laon-tech.com www.sbs.co.kr

input channels can be used to control pan, width, distance and elevation, as well as an aux send, for any given L-ISA source object directly from the DiGiCo desk. L-ISA parameters can be stored in the snapshots engine and recalled in the same way as other console parameters. Finally, Klang’s Klang:fabrik in-ear monitoring system allows sound engineers to create L-ISA immersive mixes without the need for additional hardware or loudspeakers by making use of the headphones’ 3D personal monitor mixing capabilities. www.l-acoustics.com www.l-isa-immersive.com

New VHD2.18J Subwoofer Housing two 18” high performance transducers the VHD2.18J is a direct radiating bass-reflex subwoofer. The VHD2.18J’s optimised, high efficiency, bass-reflex design produces considerably more output than other similar double 18” enclosures and features intuitive integrated flyware that allows for fast rigging of multiple cabinets. Johannes Krämer works with many of the worlds leading artists, promoters and events. When he visited KV2 Audio he was looking for something special in a sub. After discussions with Chief Engineer, George Krampera the VHD2.18J was born.

www.kv2audio.com

George Krampera Chief Engineer KV2 Audio

Johannes Krämer Sound Engineer Richie Hawtin

NEWS

Mother Monster roars INDONESIA: The interior is decidedly pink and the venue emits quite a noise during its lengthy 11am until 2am opening hours. Located in the upmarket Plaza Indonesia shopping mall in Jakarta, Mother Monster combines a unique contemporary dining experience bearing similarities to the first two outlets opened by Common Ground and Biko Group in 2017. The eye-catching menu of spirits and beer may be placed at the forefront alongside the Asian– European fusion, but the musical ambience has not been placed in the background. Having played a central role in the design and installation of the audio systems in the first two venues located in Senayan City and Pacific Place, PT Gracia Auvindo was once again appointed the task of creating the musical DNA that has become synonymous with Mother Monster. Following consultation with the outlet’s management,

project engineer Brian Ikhsan and the Goshen Electronics team have created a ﬂexible, cost-effective solution based on three distinct zones – the entrance foyer, the central bar and the patio dining area. Tannoy’s DVS8T surface-mount coaxial speaker was selected on account of its sleek aesthetics and price-performance characteristics.

The transformer-version ABS enclosures have been ﬁxed to the ceilings in all three zones via their integral U-shaped handles. ‘We used the VX series in their last venue as it is bigger and hosts live bands,’ conﬁrmed Goshen’s Mr Halim. ‘However, for an environment such as this in which the lows go down to 75Hz (+/– 3dB), the DVS cabinets are perfect

and extremely easy to install.’ Concealed within the furnishings, two dBTechnologies Sub 808D active 18-inch subwoofers further extend the bass levels.

are conﬁgured and stored using a Symetrix Jupiter 8 processor. In the evening hours, the MP3 music source is dispensed in favour of a DJ operating a Pioneer CDJ-900

Automatically turned on and off using an SP1038 Pro Sequencer, the passive Tannoy DVS enclosures are powered by Lab.gruppen E-series 4:2 and 10:4 ampliﬁers. DSP settings for the three zones

multiplayer and DJM-900NXS mixer. Source control is provided via the DDA M12 mixer installed behind the central bar. www.goshenelectronics.com

Graphite scores debut goal in Myanmar MYANMAR: Myawaddy TV has become the ﬁrst television station in the country to use Ross Video’s Graphite production solutions, with the broadcast technology recently put to work during live coverage of local football matches. Ross Video joined Elevate Broadcast to partner with Myawaddy TV throughout the duration of The Aung San Shield competition that not only featured the Graphite integrated production vehicle – which features a Carbonite switcher, XPression graphics and 28-channel audio engine – but also saw the ﬁrst use of augmented reality on Myanmar’s television network.

During the coverage, Elevate Broadcast worked with the production team from Myawaddy

TV to create all of the graphical elements for the matches in XPression Studio, including

3D graphics throughout the transmissions. The elements were then run through the live productions using Graphite. ‘Ross is delighted to have been involved in this competition and have the opportunity to create such ground-breaking visuals for the audience,’ said Andrew Tan, Ross Video’s director of sales for APAC. ‘The vision and technical expertise on display from the teams at Myawaddy TV and Elevate Broadcast were key to the success. Yet again we’ve shown that the tight integration of our systems can bring about an extremely efﬁcient workﬂow and enable our clients to create a high-quality production.’ ‘We were honoured to work with

Five-star hotel in Taiwan set alight by GLP TAIWAN: A total of 40 GLP X4 atoms were recently used for the lighting system of the opening launch of the 5-star Silks Club Kaohsiung hotel. The ﬁxtures were primarily used as the main lighting focus during the entrance lobby performance area, while there were also further abstract performances beamed by the

X4 atoms at the pool deck. The lighting show was conducted by Roger Sansom Productions with lighting designer Steve Nield – who has a long history of collaboration with GLP Asia’s Søren Storm – at the helm. The spectacle hinged on a Japanese-themed design with the lighting at the entrance lobby

18 PRO AVL ASIA May–June 2018

designed to reﬂect a very stark and linear concept but at the same time maintain the ability to change the mood using colour

change. For this reason, Mr Sansom opted for the specific X4 atoms fixtures due to their size but also because they are fitted

the organisers of The Aung San Shield and MWD TV in order to help lift the quality and excitement of football matches with the fresh new graphics approach,’ added Elevate Broadcast CEO, Dennis Breckenridge. ‘The event was easy to manage because Ross XPression is easy to use – helping us to create the graphics for each match as well as manage the on-air elements. With only one day of preparation and one day of training, the operators were able to easily manage the exciting elements for the live transmissions.’ www.elevatebroadcast.com www.myanmartvchannel.com www.rossvideo.com

with high output quad colour LEDs and are equipped with 9:1 zoom range. Creating a landscape of whites and blues, the units were controlled via MA OnPC with an MA 4 port node. ‘Initially the humble PAR 36 pinspot was considered, but even with correction ﬁlters it could not match the white of the atom in quality,’ commented Mr Storm. ‘There was limited height and space available to use anything larger to get the required look and feel. The atom did exactly what we needed it to do.’ www.glp.de www.silks-club.com

The SL-Series.

More art.

sl-series.com

Less noise.

NEWS

Transforming Roundhouse AUSTRALIA: Roundhouse is a multipurpose, 2,200-seat venue at the University of New South Wales (UNSW). At more than 50 years old, it was in need of refurbishment and, as part of a transformation project, The PA People installed a new A/V setup for musical acts, conferences, theatre performances and private parties hosted at the venue. ‘We needed to create an AV/PA solution that would cater for our current variety of uses, but could also future-proof our capacity over the medium term,’ recalled Shelley Valentine, director of student services at Arc @ UNSW, the university’s student organisation. ‘This is a venue that needs the ﬂexibility to accommodate a wide variety of uses, from guest lectures and conferences, to creative-arts productions to band performances.’ The round, domed building presented several acoustic challenges and featured a large, central ceiling structure that limited rigging and lighting. Therefore, the project brief called for new rigging and anchor points that could facilitate a broader

production. Theatre consultant, Richard Stuart, provided the infrastructure speciﬁcation to Multiplex, which managed the complete building project. Goldline Industries was allocated the task of handling electrical works and in turn brought The PA People onboard to deliver the audio, lighting, projection and control systems. A d&b audiotechnik V-Series system was installed as the main PA solution, comprising Vi8 and

Vi12 loudspeakers. These are controlled via a DiGiCo SD12 mixing console with D2-Rack and a QSC Q-Sys control and audio routing system. The PA People also supplied Shure QLXD radio mics. The lighting rig is formed from Philips and ETC ﬁxtures with control from a High End Systems Hog4 lighting console. Content displayed via the trio of Epson LED projectors and Screen Technics motorised screens is

New rigging and anchor points allow a broader production managed using a Roland XS-84H vision matrix. The PA People received assistance from Jands with regards to chain hoists for speaker rigging as well as winches and chain hoists for the motorised lighting bars, trusses and scenery battens and curtaining. The Barrisol ceiling presented a major challenge due to its construction from a lightweight fabric membrane, which is stretched across a segmented, pie-shaped structure. This needed to be carefully cut to allow the rigging and cabling to pass through while avoiding damage to the ceiling structure.

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20 PRO AVL ASIA May–June 2018

With the project completed, Roundhouse now has the ability to host major international acts, conference clients and in-house entertainment productions and forums with a system that is reportedly easy to use. ‘We’ve had a sell-out student dance party, ﬁve comedy acts, three large band gigs, and 200- and 1,000-person conferences,’ said Ms Valentine. ‘The venue is getting positive feedback from acts and potential clients; with one saying this is one of the best sounding venues of this size in the country.’ www.papeople.com.au

NEWS

Plantronics to acquire Polycom Making magic WORLD: Plantronics and Polycom have entered into an agreement under which Plantronics will acquire Polycom in a cash and stock transaction valued at US$2 billion. The transaction has been unanimously approved by both companies’ boards of directors and is subject to the usual regulatory approvals and customary closing conditions. The deal is expected to be ﬁnalised by the end of Q3 2018. ‘With the addition of Polycom’s solutions across video, audio and collaboration, we will be able to deliver a comprehensive portfolio of communications and collaboration touch points and services to our customers and channel partners,’ explained Joe Burton, president and CEO of Plantronics. ‘This will put Plantronics in an ideal position for today’s enterprise collaboration requirements while capitalising on market opportunities associated with the evolving, intelligent enterprise.’ ‘Bringing Plantronics and Polycom together will broaden

the breadth of solutions available to customers and partners, and create a consistent end user experience across many collaboration applications and devices,’ added Polycom CEO, Mary McDowell. ‘Polycom has returned to growth by focusing on building strong ecosystem partnerships and delivering innovative, smart solutions for our customers and partners. As one company, Plantronics and Polycom will make it even easier for all customers to solve big-business

problems through human-tohuman connections.’ As part of the deal, Frank Baker, founder and managing partner of Siris Capital, along with executive partner Daniel Moloney, will join the Plantronics board of directors. Siris Capital is a private equity ﬁrm that acquired Polycom in September 2016. ‘Siris recognises the incredible opportunity in the uniﬁed communications industry and has been focused on building momentum in the industry for several years,’ said Mr Baker. ‘We are excited about the longterm value that the combination of Plantronics and Polycom will create for customers, partners, stakeholders and employees.’

PHILIPPINES: Victorias Public Plaza served as the stage for the 20th edition of the Kadalagan Festival, a celebration commemorating the anniversary of Victorias City’s Charter Day in 1990, when it graduated from municipality to city status. Magic Audio System was put in charge of providing the festival’s sound system, employing Audiocenter’s K-LA-DSP active DSP-controlled line arrays acquired from the manufacturer’s Filipino distributor, Kolin Electronics. A total of six K-LA-DSP clusters were ﬂown around the stage in an L-R conﬁguration of three clusters per side. A pair of the clusters were formed from six

A cluster of six K-LA212-DSP units K-LA212-DSP units each and served as the main PA. A pair comprising four K-LA212-DSPs and the remaining two clusters of six K-LA210-DSPs served as sideﬁlls. K-LA218-DSP subwoofers were used for low end and Audiocenter’s TS12 active DSPcontrolled loudspeakers were deployed as the monitor system. www.audiocenter.net

www.plantronics.com

www.kolin.com.ph

www.polycom.com

www.magicaudiosystem.com

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May–June 2018 PRO AVL ASIA 21

NEWS

Digital sound for Anugerah Juara Lagu MALAYSIA: The latest series of Anugerah Juara Lagu Champion of Songs was broadcast live in Dolby 5.1 surround sound by TV3. The ﬁnal took place at Bukit Jalil National Stadium and was transmitted via Jünger Audio’s MYTV DVB-T2 platform, which is pegged to handle all of Malaysia’s freeview transmissions when the country transitions from terrestrial to digital broadcasting later this year. With the digital switchover imminent, TV3 used the Anugerah Juara Lagu ﬁnal as a trial for the MYTV DVB-T2. Jünger Audio’s Malaysian distributor, JAA Systems, worked closely with TV3’s parent company, Media Prima Berhad, to ensure that the correct processing units were selected. ‘During the contribution stage, we deployed a Jünger Audio C8000 frame with a C8492B SDI interface, a Dolby E encoding card and Jünger Audio’s proprietary Level Magic technology, which was used to control loudness and ensure that audiences received the highest possible audio quality,’ said David Chan, managing director of JAA Systems. Video feeds were sent to TV3’s MCR via a DSNG link and the 5.1+2 audio produced at the event was

Imaliana Muzni with the TV3 team and staff from JAA Systems transmitted in the Dolby E format. TV3’s C8000 frame was then used to decode the Dolby E signal into a multichannel audio stream, which was passed through the MCR for further processing. Before going to broadcast, multichannel audio was encoded to Dolby Digital Plus using a Jünger Audio D*AP8 TAP (Television Audio Processor) and was then sent to MYTV for myFreeview transmission, allowing viewers to hear native 5.1 surround sound produced on IDTVs and DVB-T2 decoders. In addition, D*AP8 TAP units were used in TV3’s MCR to upmix 5.1 content so that viewers without multichannel audio could receive surround sound in HDTV.

‘This is the ﬁrst time we have broadcast a live programme of this magnitude on the MYTV DVB-T2 platform and it was a success,’ declared Imaliana Muzni, broadcast systems engineer at Media Prima Berhad. ‘Thanks to the help we received from JAA Systems, Jünger Audio and Dolby, we were able to test the upmix and native 5.1 production for TV3’s HD channel. It has been a great learning experience throughout the process, from production to delivery to MYTV.’

With the trial a success, Media Prima Berhad is now planning to permanently install D*AP8 TAP units at its TV3 facility ahead of the digital switchover. During the 2018 series, MJ Event Management returned to the set of Anugerah Juara Lagu, once again employing Allen & Heath dLive digital mixing systems and 30 ME-1 personal mixers, allowing musicians to control their own monitors. Some of Malaysia’s most prominent pro audio engineers are enlisted to mix the show, which this year saw Zairi Arifﬁn at FOH and Jim Teh handling monitors, while Mohamad Firdaues served as the systems engineer. The Allen & Heath setup differed somewhat from last year, as a pair of dLive S7000 surfaces were run in multi-surface mode with a DM64 MixRack along with an S5000 surface and DM48 MixRack. Two DX32 expanders increased the I/O number and a Waves3 card enabled 128-channel multitrack recording of the performances. www.allen-heath.com www.jaasys.com

Muhammad Nur Azrin, senior audio director; Dr Ahmad Zaki, group general manager engineering; David Chan, JAAS; Azhar Abdul Latiff, JAAS

www.jungeraudio.com www.mjevent.com.my

EDC Acoustics performs at Trinity Grammar AUSTRALIA: Trinity Grammar School at Summer Hill in Sydney recently sought a new sound system for its 700-seat James Wilson Hogg Assembly Hall to reinforce the performances of its Society of the Arts. tm stagetec systems offered a solution in the form of EDC Acoustics, which was immediately put to the test. ‘We had the opportunity to use an EDC Acoustics system for a school production of Pirates of Penzance,

The setup was used for a production of Pirates of Penzance

consisting of a single EDC mid/ high cabinet per side and a pair of 15-inch subs,’ recalled Damon Pieterse, A/V manager at Trinity Grammar. ‘At ﬁrst I was sceptical that a single cabinet each side would be able to provide enough even coverage for the entire venue. However, after a quick tune of the system I found we didn’t require any front-ﬁll or delay speakers. The ability to steer the sound both horizontally and vertically provided

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22 PRO AVL ASIA May–June 2018

consistent levels to every seat in the house. The gain before feedback was also astonishing. We had 10 live headsets at times in front of the PA system, often within 1m of the ground-stacked cabinets, and did not encounter any issues throughout the production.’ www.accav.com.au www.edcacoustics.com www.tm-systems.com.au

Evolving with you. With a sleek new user interface, a generously expanded switching bandwidth and higher RF output power for the 500 Series, and new multi-channel functionality for the 100 Series, G4 delivers high-quality, reliable audio for musical performances, houses of worship, and theaters. www.sennheiser.com/g4

NEWS

9,%$ PRYHV WRZDUGV $ 9

Calvin Do (centre) and his team from Tan Viet Development Investment & Import-Export VIETNAM Exporum, show organiser for the VIBA show, moved the 3-day event to Hanoi this year, following a 6-year tenure in Ho Chi Minh City. The rationale behind the move was to provide access to the capital’s public sector broadcast industry, which constitutes a different market from that in the south. The show will move back to HCMC in 2019. ‘This year we decided to have the show in Hanoi as the government and many ﬁnal decision makers are here,’ said Sophia Lee, senior manager, overseas exhibition department, Exporum, who was claiming a similar amount of exhibitors at the show – around 70 – with a 20% differential due to the non-participation of some south Vietnamese companies and the ﬁrst-time attendance of some based in the capital. Maybe due to this, the focus of the show

seems to be moving away from broadcast and more towards the A/V industry, according to Ms Lee. ‘About 65% of the exhibitors are from overseas, mainly A/V companies from China who are very interested in the Vietnamese market and are looking for distributors,’ she continued. ‘From next year we will be focusing more on A/V and content providers rather than broadcasters as we feel that’s where the market is going.’ The predominance of speaker manufacturers was borne out by the noise emanating from the reasonably small exhibition hall, where many of the exhibitors were showing off their dB levels, even when no visitors were present on the show ﬂoor. ‘We need to do some work on how to solve the noise problem,’ stated Ms Lee. ‘Vietnamese companies understand this, but we need

to make it clear to the overseas companies.’ To help in this matter, Exporum was attempting to get companies to stick to a prearranged, 5-minute time slot for demos, and had for the ﬁrst time organised an outdoor line array demonstration, with three Vietnamese distributors of Chinese products joining this year. Some exhibitors seemed unsure of what to make of VIBA this year. ‘There are not so many customers here and I saw some empty booths,’ said Jenny Wong, sales director of Guangzhou TI Pro Audio Co. ‘I think lots of people have come here looking for a Vietnamese distributor. As a pro audio manufacturer from China, we already have a distributor here so we come to this show to support them. I think the show works better in Ho Chi Minh City. The economical environment is better for us than Hanoi, and we see more customers.’ ‘In HCMC lots of quality people came to visit the exhibition and there were more visitors,’ added Calvin Do, general manager of distributor Tan Viet Development Investment & Import-Export, which took part in VIBA for the ﬁrst time in the south last year. ‘However I’d like to participate in a high-quality show that is focused on A/V.’ Maybe VIBA 2018 will pave the way for a dedicated Vietnamese trade show for the A/V industry? www.vibashow.com.vn

,QIR&RPP 6RXWKHDVW $VLD DQQRXQFHG IRU SOUTH EAST ASIA: Avixa (Audiovisual and Integrated Experience Association) will debut the InfoComm Southeast Asia show in partnership with InfoCommAsia Pte from 15 to 17 May 2019 at the Bangkok International Trade and Exhibition Centre in Thailand. ‘South East Asia is one of the largest and most exciting emerging economic blocs in the world,’ said Richard Tan, executive director of InfoCommAsia. ‘It has always been our mission to help our partners open doors to new and emerging markets. In addition to our more established shows in China and India, which have seen great success year after year, we are conﬁdent that our new platform in South East Asia will achieve that same success. We see a lot of market potential in the region.’ The inclusion of InfoComm Southeast Asia to the calendar will see Avixa host four trade shows in

the Asia Paciﬁc region. The other three are Beijing InfoComm China, Chengdu InfoComm China and InfoComm India. As with its sibling shows, InfoComm Southeast Asia will comprise an exhibition showcasing pro A/V equipment and communications technologies alongside an educational summit. ‘Avixa is continually evaluating burgeoning pro A/V markets where support and resources can help spur growth,’ said Avixa CEO, David Labuskes. ‘A show in South East Asia represents a big step in that direction by providing a platform for the latest in transformative pro A/V technology, industry best practices and thought leadership. We’re excited to see this region grow so dramatically and impact the overall progression of the A/V industry globally.’ www.avixa.org www.infocomm-sea.com

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Studios 301 with PMC’s QB1-A (photo courtesy of Jochen Veith) AUSTRALIA: Studios 301 in Sydney has become the ﬁrst professional recording studio in the Southern Hemisphere

24 PRO AVL ASIA May–June 2018

to install QB1-A monitors, with the large-scale loudspeakers joining other PMC products at the facility.

‘I chose PMC’s QB1-A monitors for our main studio because they are currently the best studio monitors on the market, especially when they are installed in a room that has been purpose built to house them,’ commented Studios 301 owner, Tom Misner. ‘To achieve these exceptional sonic results, we built the room for the speakers rather than trying to ﬁt the speakers to the existing acoustics of the room.’ Alongside the QB1-A monitors for its new Control Room One, Studios 301 is equipped with MB3 XBD-A monitors for Control Rooms Two and Three and Mastering Rooms Two and Three. They have been installed in stereo conﬁgurations in all rooms except

Control Room Three where they are part of a 5.1 surround sound setup, in conjunction with a MB3-A centre speaker and MB2S passives for the rear surrounds. Studio 301’s remaining Control Rooms – Four and Five – and three production suites are all equipped with twotwo monitors. ‘The PMC MB3 monitors were the only ones I could ﬁnd that were sufﬁciently versatile for recording, mixing and mastering,’ continued Mr Misner. ‘I also love the character of the twotwo speakers that we are putting into the production suites and smaller mix rooms. I am quite familiar with these, having used smaller PMC speakers at Abbey Road Studios. My main criteria

were to use the same monitors throughout – for the smaller rooms, the main rooms and for mastering.’ As well as offerings clients access to consoles such as Neve 88R and the SSL K series, Studios 301 has recently added an API console and an Avid S6 in its 5.1 mixdown suite. Established in 1926 as The Columbia Graphophone Company – and later EMI – Studios 301 has hosted internationally acclaimed artists over the years, including Coldplay, Kanye West, Lady Gaga, U2, David Bowie, INXS, Elton John, Bob Dylan and Lana Del Rey. www.pmc-speakers.com www.studios301.com

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Total Productions deploys new SD10 at Ragam equalisers, the SD10 is a lucrative addition for our rental stock.’ Farhad Daruwalla, FOH engineer for Vishal-Shekhar, conﬁrmed Mr Perry’s comments: ‘I have been using and specifying DiGiCo consoles regularly in my tech riders for the past seven years,’ Mr Daruwalla said. ‘At Ragam 2018

in Calicut I had an SD10 at FOH which I use regularly for VishalShekhar. The pristine sound quality, I/O capacity, reliability and ﬂexible work surface make my life easy on tour, even in the most demanding situations.’ In addition to supplying Total Productions with the console,

Francis Perry with Total Productions’ new SD10 INDIA: Ragam 2018 was headlined by Bollywood music duo VishalShekhar. Handling the mix at FOH was a DiGiCo SD10 console provided by Bengaluru-based rental company, Total Productions. The console was recently purchased from the manufacturer’s Indian distributor, Hi-Tech Audio Systems.

‘Of late, sound engineers have speciﬁcally started to ask for DiGiCo consoles for live mixing,’ explained Francis Perry, owner of Total Productions. ‘The SD10 is userfriendly with an intuitive interface and a wide range of feature sets. With its high fader count, high input and buss counts and dynamic

Hi-Tech Audio Systems’ DiGiCo sound engineer, Vanshaj Sharma, trained the rental company’s team on how to use the SD10. ‘The recent DiGiCo SD10 training session with Total Productions was an overwhelming experience,’ Mr Sharma commented. ‘I gave them a detailed introduction about the features of the console. The technical team of Total Productions was amazed with the console’s high-clarity digital processing, high-quality preampliﬁers and user-friendly workﬂow. The SD10 was put to the test during VishalShekhar’s performance at Ragam and undoubtedly the client was happy.’ www.digico.biz www.hitechaudiosystems.com

Farhad Daruwalla behind the SD10

www.totalproductions.net

Curved eyes for 6KHQ]KHQ·V ELJ EUDLQ CHINA: Absen’s CR1.2 has been used to build what is reportedly the world’s largest curved small pitch LED screen at the Smart City Brain in Shenzhen’s Longgang district. The screen needed to be large enough to display clear images from up to 181 video signals, monitoring everything from trafﬁc to the running of emergency services.

boundary and brightness adjustments and helps create a bezel-free full screen. ‘We once were in a dilemma of choosing LCD, DLP or LED. LCD and DLP screens would show gaps of at least one pixel pitch or 3.5mm that are unacceptable for a demanding control room environment,’ explained a Smart City project manager. ‘When we

The 1.27mm screen comprises 798 panels, totalling 103 million pixels (103 megapixels) and measures 25.6m wide x 6.5m high, which makes 166.9m2. It is divided into separate windows, displaying up to 105 feeds in a 720p resolution, 40 in 1080p or 10 in 4K. The Absen team had just 85 days to construct the screen before installation. Each panel is equipped with two power banks and two receiving cards. This provides both the power and signal inputs with the ability to seamlessly switch to a backup when needed. Absen’s PreciseAlign technology facilitates

tried Absen’s CR1.2, we knew it was right when we saw each panel ﬁt seamlessly to the next, leaving no black bezel, not to mention the power and signal backup design.’ ‘To engineer such a big, curved screen of high resolution in 85 days from production to installation was a big challenge,’ revealed Zhang Yongfeng, Absen sales director. ‘It requires sophisticated technologies and a highly effective team. The site was under construction and full of dust throughout the whole process. It was really a tough task, but we managed it.’

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26 PRO AVL ASIA May–June 2018

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G%7HFKQRORJLHV DQG %HUNDW 0LWUD 6ZDUD PDNH LW RIÀFLDO INDONESIA: Following the announcement that Berkat Mitra Swara would take on sole distribution for dBTechnologies in Indonesia, the newly weds announced a ceremony to cement their ties. The top level of the Integrity Convention Centre in Jakarta’s Kempoyan district served as the setting and, despite the everconstant threat of rain at this time of year, the outdoor demonstration was blessed with dry weather. Hence the newly launched L210 line array and S318 triple 18-inch subwoofer were critically listened to via playback and live music. In addition, 150 invited guests were also treated to demonstrations and seminars of the more portable systems including LVX, B.Hype, the ES and Ingenia series and of course Opera inside the ninth-level complex. Coming as far aﬁeld as Medan, Sulawesi, Bali, Surabaya and Sorong, the gathering of rental companies and dealers demonstrated the strength of support for the Italian brand as well as its long-term business allies at Berkat Mitra Swara. The day was completed with technical

overviews and video presentations on upcoming Vio series products and Aurora.net software. Silvia Raimondo from the marketing department and product specialist Marco Cantalù joined Asia Paciﬁc sales manager Manuele Poli from Italy to lend their support on the day. ‘For me, this appointment feels like a rebirth for dBTechnologies here in Indonesia and as such I’m extremely happy with how events have turned out on the day,’ expressed Mr Poli. ‘We’re so impressed how this style of event can be conducted in such a professional manner. The attendees were all great professionals who

Product specialist Marco Cantalù

to the live sound, touring and installation markets, they are also blessed with a wonderful handson, passionate and knowledgeable team. We are looking forward to taking this great Italian brand to the next level here in Indonesia.’ The new pairing will be hosting a 2-day distributor event in Bali this September for dBTechnologies’ entire Asia Paciﬁc distribution network. Berkat Mitra Swara presents dBTechnologies in Jakarta’s ICC were eager to learn of the many features of the products that were presented to them. Most Indonesians are avid musicians or music lovers and this really showed after the Ingenia presentation as we ﬁelded many questions, which to date has been unusual. Undoubtedly, this market holds great potential for dBTechnologies.’ Berkat Mitra Swara director Thomsen Phan returned the gratitude to his European loudspeaker producer. ‘Not only do dBTechnologies produce imaginative, innovative, current products that offer real-world solutions for musicians in addition

www.dbtechnologies.com

The new L208 array and S318 subwoofers were given a full outdoor demonstration to the 150 invited guests at the ICC

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NEWS SOUNDBITES Y ART HALL EXHIBITS UNILINE COMPACT KOREA: Following the successful installation of APG’s Uniline series systems at Jeju Nanta Theatre last year, the French manufacturer’s Korean distributor, Sound Place, has equipped Yeongdeungpo Art Hall (Y Art Hall) with a Uniline Compact solution.

The 450-seat theatre has been ﬁtted with 10 UC206N narrow coverage line array speakers, four UC206W wide coverage models, four UC115B bass speakers and a pair of TB218S subwoofers. Y Art Hall’s sound director reportedly selected APG having compared Uniline Compact speakers with products from other brands due to the quality of sound reproduction and the ﬂexibility of the system. As a direct result of this project, Sound Place reports that it has been approached to design a sound system for another theatre using Uniline Compact speakers.

Mahajak goes back to school THAILAND: Mahajak ﬁrst worked with Bangkok International Preparator y and Secondar y School on the installation of A/V systems at the institute’s original campus. The school recently expanded, adding a second campus to accommodate an increasing intake of students, and Mahajak was enlisted to integrate the A/V systems at the new facility.

The setup was designed by 360 Design and sees a variety of JBL speakers covering the foyer and auditorium, including CSSBB6BM, CSS8006, PRX412M, Control28-1 and Control25-1 cabinets, and AC118S subwoofers. The auditorium is also equipped with Shure microphones, as well as visual solutions such as a Panasonic projector, a Barco CS100 wireless presentation system and a pair of Samsung 55-inch LED screens. Lighting effects are created with Martin Professional’s Rush MH1 Profile Plus, MH7 Hybrid and Atomic 3000 DMX fixtures. While systems in the auditorium can be controlled via a range of AMX solutions, a dedicated control room is equipped with a Soundcraft SI Impact. Also found in the control room are Shure UA844+SWB antenna distribution systems, a dbx PB48 patchbay, a dbx DriveRack Venu360 digital speaker management system, JBL LSR305 speakers as monitors, a variety of Crown amplifiers, an LG screen and an M-Touch controller

Lyons roar in Australasia

www.apg.audio www.soundplace.kr

MIPRO ADDS TO TROPHY CABINET WORLD: The latest award adorning the trophy case at Mipro is a 2018 iF Design Award, presented for its TA-80 digital plug-on transmitter by the Hanover-based iF International Forum Design GmbH.

‘We are honoured to receive the prestigious iF Design Award,’ said KC Chang, CEO of Mipro. ‘The TA-80 digital plug-on transmitter turns any premium wired microphone into a digital wireless system producing the natural sound. As a leader of digital wireless microphone technology, Mipro continues to improve its product design. This award means a lot for us.’ www.mipro.com.tw

John McMahon, Don McConnell, Tobi Pinazza, Steve Biermann, Helen and John Meyer, Ben Wright, Antonio Zacarias, Aaron Taylor, Chris D’Bais AUSTRALIA: CMG Audio Visual has purchased the ﬁrst Meyer Sound Lyon and 1100-LFC system in Australasia through the manufacturer’s Australian distributor, Audio Brands Australia. Arriving in mid-2018, the systems will enable the rental company to target large arena, theatre and stadium applications across Australia. CMG is no stranger to Meyer Sound, having been the ﬁrst company to introduce the Leo family of loudspeakers to the Australian market in 2015 when it acquired Leopard and 900-LFC enclosures. The new investment comprises 36 Lyon loudspeakers, combining the Lyon-M and Lyon-W models and 24 1100-LFC cabinets, as well as 16 MJF-201 stage monitors. In addition, CMG has expanded its

28 PRO AVL ASIA May–June 2018

roster of Leopard loudspeakers, bringing the total in its inventory to 50, while the purchase of additional 900-LFC subs brings its total to 12. Further Mina compact speakers, Galaxy processors, MDM-5000 distribution modules, Amie and Amie Subs were also purchased as part of this latest sale. ‘Meyer’s Lyon and 1100 are absolutely incredible and we can’t wait to offer them to the Australian market,’ said Tobi Pinazza, general manager and technical director of CMG. ‘We’re very excited by the opportunity to support both local and international touring productions with a turnkey product that is highly regarded and in demand.’ www.cmgav.com.au www.meyersound.com

for the lighting with a pair of DMX 5.3 splitters. Elsewhere on the campus, Mahajak supplied another Shure microphone system in the recording studio along with a Soundcraft Signature 12 MTK mixer and JBL LSR305 monitors. Meanwhile, the school’s Black Box Theatre is also ﬁtted with Shure microphones and a Signature 12 desk in addition to a Crown XTi1002 ampliﬁer, an M-Touch lighting controller and JBL Control29AV-1 speakers. ‘The customer required up-to-date systems that are easy to use and maintain for term-time use and offered long-term reliability,’ said Apisit Kruachaem, project sales manager at Mahajak. ‘We followed the design set out by 360 Design and met some trouble during the installation caused by changes to the original design. However, we completed the project and the new campus possesses a full educational multimedia system.’ www.mahajak.com

MSX 32s lead the way at Mediacorp SINGAPORE: Mediacorp has turned to Broadcast Communications International (BCI) to install 26 ARX Systems MSX 32 active microphone/line splitters for the media company’s new campus tours. Acquired as part of Mediacorp’s goal to enhance its guided tours service at the 74,322m² campus, the MSX 32s will provide audio signal distribution to a number of Lawo mc series audio production consoles already in place at the premises. Those consoles include ﬁve mc²56 audio production units and an mc²36 audio unit that are deployed throughout the television studio complex at the heart of the campus. The MSX 32s have been connected to

PSU 32 backup/redundant power supply units – also manufactured by ARX. The new campus includes a 1,500-seat theatre and what Mediacorp describes as being the largest outdoor TV digital screen in Singapore – standing at 15m x 15m. Apart from being able to see Mediacorp employees at work, visitors on the guided tour are also encouraged to go in front of the camera. The MSX 32s were developed for live sound, recording and broadcast applications where microphone and XLR balanced line level input signals need to go to multiple mix locations. www.arx.com.au www.bci.com.sg

Lee Mun Tong, senior manager, Audio Group (Studio) at Mediacorp

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PMX invests in E-Series PHILIPPINES: Production rental company PMX has invested in an Adamson E-Series loudspeaker system from the manufacturer’s Filipino distributor, Stage Craft International. The purchase comprised 18 E15 loudspeakers and eight E219 subwoofers and comes as PMX has started working on larger events. ‘As we’ve grown to take on larger tours and festivals, we’ve had to expand our inventory accordingly,’ commented PMX owner, Ferdi Garcia. ‘Adamson’s E-Series boasts the sound quality that allows us to differentiate from the competition and gain rider acceptance we need in a largeformat loudspeaker solution.’ In addition to the 26 E-Series cabinets supplied, Stage Craft will provide additional cabinets

Adamson Applied Certiﬁcation trainees, including technicians from PMX, at Stage Craft International HQ for when more expansive systems are required by PMX. To ensure the PMX team was able to get the

most of the system, it received Adamson Applied Certiﬁcation training at Stage Craft’s

headquarters in Mandaluyong City, delivered by David Dohrmann, Adamson’s technical director

for APAC, and Ayumi Hanano, APAC education and support coordinator. ‘We very much appreciate the support we’ve already received from Stage Craft and Adamson,’ said Mr Garcia. ‘Having so much experience and audio expertise behind us made us even more conﬁdent that we made the right decision joining the Adamson Network and becoming an E-Series partner. The product has been very well received by the K-pop community, which has a strong following in the Philippines. We’re looking forward to offering our customers this premium product for all kinds of applications.’ www.adamsonsystems.com www.pmx.com.ph www.stagecraftintl.com

RCF gets Fandom into the groove INDIA: A new nightclub in Bengaluru recently turned to speakers from RCF to help elevate the sound system for the 4,000m2 party venue which will also offer live performances. Fandom Club is part of Gilly’s Redefined and is situated on the first floor of the building, sandwiched in-between a bar on

Additionally, a DiGiCo S21 with D-Rack was added.’ The audio system is controlled by a Blu-103 from Harman’s BSS Audio and connected with cabling from Klotz. The new lighting system consists of Silverstar MX Prime Washes, LBT Moving Head Sharpys, LBT LED PARs, SGM Color Labs and an Avolites 2010 console.

the ground floor and a restaurant on the third floor. The sound system was installed by J Davis Prosound & Lighting and provided by local distributor Hi-Tech Audio Systems. ‘We equipped the stage with eight HDL 20s – four each on the left and right side – for the FOH system and four Sub 8006ASs in the middle below the stage,’ said J Davis Prosound & Lighting managing director and chief sound engineer, Santana Davis, who had created a graphic simulation prior to the installation for the client. ‘For the mezzanine floor, 4PRO series Point source speakers were installed with Sub 8004ASs and 8005ASs.

‘Being a concert venue for DJ and live music artists, it was vitally important that the sound be big and full throughout the venue,’ added Kallol Nath, Hi-Tech Audio Systems’ senior application engineer. ‘After carefully listening to the expectations of our client and observing what actually takes place inside the venue, we elected to use RCF’s line array technology. We have strategically positioned the RCF HDL20A line array system and thus the audience can experience the direct sound ﬂow without any reﬂection.’

Snake Newton and Charlie Bradley

DPA drum mics accompany Harry Styles AUSTRALIA: Harry Styles’ ongoing world tour has already featured shows in Sydney and Melbourne, as well as Singapore and Tokyo. Before the tour concludes, the former One Direction member will have returned to Melbourne, Sydney and Singapore, while also per forming in Perth, Brisbane, Manila, Hong Kong, Bangkok, Kobe and Chiba. The tour’s FOH engineer, Snake Newton, has employed a raft of DPA Microphones to mic the entire drum kit for each gig. ‘Quality-control wise, I know DPA products are second to none,’ explained Mr Newton. ‘A couple of years ago I had the opportunity to try out a bunch

30 PRO AVL ASIA May–June 2018

of DPA mics and was super impressed with their sound. I played around with them in the studio and totally fell in love with them. They were already my go-to for any orchestral string miking and I remember thinking that if anyone asked me to do a simple mic up of a drum kit “Motown style”, the d:dicate wide cardioids that we are now using on drummer Sarah Jones’ kit would absolutely wipe the ﬂoor with anything I’d ever used.’ A pair of d:dicate 4015 wide cardioid microphones are used as overheads, while d:dicate 4011 cardioid models are equipped on the snare top and ride and a d:vote 4099 instrument microphone covers

the hi-hat top. Completing the setup are d:dicate 2011 twin diaphragm cardioid mics on the snare bottom, rack toms and ﬂoor toms. Mr Newton’s drum mic setup has won the approval of monitor engineer, Charlie Bradley. ‘I usually defer to Snake on microphone choice unless there is something that really isn’t working for me in the mix,’ said Mr Bradley. ‘On this occasion I am very pleased that he’s using DPA on the drum kit because I now have one of the most dynamic and natural-sounding drum mixes I’ve ever had on a live tour.’ www.dpamicrophones.com

www.hitechaudiosystems.com www.rcf.it

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Chauvet holds an Open House in Singapore SINGAPORE: Organised by its recently appointed sales director for Asia, Hanslee Lim, US lighting manufacturer Chauvet hosted an ‘Open House’ event at the Four Points Sheraton Hotel in Singapore. More than 50 people followed the invitation to the half-day seminar, among them lighting designers, personnel from installers, rental companies and venues, as well as distributors from Japan, the Philippines, Vietnam, Indonesia and, of course, Singapore.

Stéphane Gressier presenting Chauvet’s brands

Testing a Chauvet DJ Freedom Stick for its lightsabre capabilities

end users and support system,’ Mr Adilkhodjaev explained. Mr Gressier conﬁrmed that, ‘it would be wrong to enforce consolidation in any of these areas. It’s like we got married and we’re still getting to know each other.’ ‘Our business has grown substantially over the years, globally and across all market segments, and we don’t depend on just a few or even a single product thanks to the wide range we offer,’ continued Mr Gressier. ‘Asia is The Open House crowd From the company’s headquarters in Florida, Chauvet’s international sales director Stéphane Gressier, product engineer manager Danilo Oliveira and international marketing coordinator Agustin Vidal provided an overview of Chauvet’s company and product strategies, as well as detailed introductions of speciﬁc products. ‘Value, innovation, performance – that’s what is guiding us to bring you the best product,’ said Mr Gressier. ‘The products we develop always have to make sense for our users. We have nothing to hide, and your feedback is very important to us, so let’s take this chance to talk.’ Indeed, attendees of the event had ample opportunity to study products on display and to discuss anything related to the Chauvet Professional, Chauvet DJ, Trusst, Iluminarc and ChamSys brands. Based in the UK, ChamSys was acquired by Chauvet almost

Chauvet’s Stéphane Gressier and Hanslee Lim with Singapore distributor Colin Quek of Loud Technologies Asia a year ago. Aziz Adilkhodjaev, international business development manager at ChamSys, was also present to elaborate on the brand’s achievements and future plans, as well as its position within the Chauvet family. ‘Focusing on developing and manufacturing lighting consoles and controllers, we have our own team including sales and marketing, our own distributors,

very important to us. First, having Hanslee Lim on the team, we shall provide more education and training in the region. For example, from here we will go to Jakarta for a training seminar, and Mr Adilkhodjaev will travel on to the Philippines and South Korea. In the future we may add a technical support engineer and perhaps take steps to improve logistics and physical distribution in Asia.

‘Continuing to grow in an organic, structured way remains the goal.’ ‘Events like this are essential for spreading the word on what Chauvet stands for and introducing the products,’ agreed Mr Lim, with Colin Quek of Loud Technologies Asia, Chauvet’s distributor in Singapore, commenting that it was ‘a remarkable initiative of a manufacturer to raise brand awareness in the ﬁeld all by themselves’. Having ﬂown in from Tokyo and representing Chauvet and ChamSys distributor PRG Japan, Ryosuke Takahara also expressed his appreciation. ‘With the new presence in Singapore and Mr Lim inviting us to the event, my

ChamSys’ Aziz Adilkhodjaev detailing the company’s achievements colleague Mr Koshigoe and myself happily took the opportunity to join, meet the team and learn more about new products.’ www.chamsys.co.uk www.chauvetdj.com www.chauvetprofessional.com www.iluminarc.com www.trusst.com

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32 PRO AVL ASIA May–June 2018

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NEWS

Uniline to better sound at Gimpo Art Hall KOREA: With a contemporary design by Seoul architecture firm G.Lab of Gansam Partners, the Gimpo Art Hall is located along the south bank of the Han River in Gimpo, which has been home to a state-of-the-art cultural centre since 2014. Its design reflects the city’s emergence as a contemporary hub in recent years, as well as the agricultural history of the region. The building itself is raised above street level, allowing for a covered pedestrian plaza, resulting in the theatre, which serves as a venue for a wide range of events, including concerts, plays and recitals, occupying space on the first floor. Having hosted a variety of performances for a few years, it was clear that the sound in the 509-seat theatre didn’t match up to the venue’s striking visuals. This was backed up by

various complaints from audience members and artists alike. Therefore, systems integrator Sound Place was called in to solve Gimpo Art Hall’s complex sonic challenges and install a new sound system. ‘The Gimpo Art Hall hosts a wide range of eclectic per formances,’ said Sangwoo Do, director of Sound Place. ‘We needed a versatile audio solution that could satisfy any type of per formance, from lectures to concerts, and the answer came from APG and its new Uniline Compact range.’ As

Gimpo Art Hall

the Korean distributor for APG, Sound Place was very familiar with the French manufacturer’s Uniline Compact systems, chosen for the versatility and scalability they offer. A 3D rendering of the sound system was created using

EASE Focus simulation software to determine the speciﬁcs of the installation. A total of 16 UC206N speakers were deployed throughout the venue with eight APG UC 115B bass speakers and four infra bass speakers. Front-ﬁll is delivered by a pair of UC206W cabinets that offer a wide spread to solve issues caused by the room’s architecture, while 21 DX8 ultra-compact loudspeakers complete the setup, dotted around the theatre. The system is managed by four of the French manufacturer’s DMS48 digital processors, offering four inputs and eight outputs. ‘The major drawback of the previous system was a lack of per formance in the ultralow frequencies, which was particularly problematic during rock per formances,’ explained Mr Do. ‘There was also a lack of sound pressure due to the low number of speakers and their inadequate position in the hall. The Uniline Compact has brilliantly solved all these issues thanks to its great versatility, providing a high sound pressure regardless of the type of per formance. The director of Gimpo Art Hall is particularly happy with the new sound system and emphasised the per fect balance and the very high sound quality of the Uniline Compact.’ www.apg.audio www.soundplace.kr

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1/3 PAGE New MODEL

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0D\²-XQH PRO AUDIO ASIA about ASIA I/O Panels 49 January–February 2018 PRO AVL May–June 2018 PRO AVL ASIA 111 January–February 2017 PRO AUDIO 33

NEWS

Clair comes in First CHINA: Clair Brothers has provided customised kiTCurve12 speakers for Nuochuang Group’s new nightclub chain, First Club, as part of a full sound system also comprising kiT12, FF2-HX, CS218, CB-FP14000/10000+ and CBLM26 cabinets.

‘This collaboration marks the ﬁrst time that Clair Brothers has produced a speaker cabinet with integrated branding designed speciﬁcally by an entertainment chain anywhere in the world,’ said Feng Min, First Club general manager.

The First Club brand currently consists of three venues, with more on the horizon. It was conceptualised by Mr Wei, vice president of Nuochuang Group, and Mr Wu, president of First Club, to deliver a high-octane EDM experience for partygoers. ‘Our goal is to give club patrons a unique feeling they can’t get anywhere else and Clair Brothers does that,’ explained Mr Wu. The Clair Brothers systems were supplied by EGG Technologies, which was appointed by the manufacturer’s Chinese distributor, DMT, to serve as a dealer for the systems, specialising in the entertainment market. The systems were installed in conﬁgurations tailored to each venue by Newegg. The systems integrator also employed custom Lake processing for the kiT12 cabinets.

First Club and Clair celebrate their partnership ‘kiTCurve12 is a single, 12inch curved array and has 15° coverage,’ explained Ryan Huang of EGG Technologies. ‘Three of them together provide 45° coverage. We didn’t need to hang them very high, only to ensure a throw distance of 15m and then we could use additional systems to cover the rest of the club. ‘We chose CS218 because it has a very low end,’ he added. ‘The Clair Brothers subwoofer can give you a feeling of being wrapped in low frequency, meaning you won’t

Christie makes Han Dynasty history CHINA: Wincomn Technology recently turned to Christie for visual solutions at the Hunan Museum, which included a ﬁrstever tomb projection in China at the Mawangdui archaeological site. Over 40 Christie 1DLP laser phosphor projectors have been installed for the projections within the various Han Dynasty exhibition zones at the museum, with the main highlight being the projection at the tomb where Lady Dai was laid to rest some 2,000 years ago. This projection was achieved using 12 D13WU-HS and two DWU700GS projectors strategically installed

around the 17m deep trapezoidalshaped pit grave. Wincomn Technology engineers used 3D modeling and UV mapping to determine the exact location of each image, since all 14 projectors had to be installed in a concealed manner at different angles. The engineers also had to overcome the challenges of irregular blending, as well as ensuring the synchronised playback of visual content. Other installations included a dome theatre projection based on ancient astrological works unearthed from the Mawangdui

archaeological site known as the ‘Divination of the Five Planets’. The dome is illuminated by 12 DWU850-GS projectors equipped with BoldColor Technology that can provide 20,000 hours of operation time. The images are projected on a curved screen using ﬁve DWU700-GS projectors. Another two DWU700-GS projectors are deployed overhead for projections

on a circular-shaped sand table positioned in the centre of the exhibition area. In the ‘People of Hunan Province’ exhibition zone, eight ceilingmounted DWU599-GS projectors and DWU700-GS projectors were deployed to beam imagery on a curved screen/sand table and three-sided wall. ‘We are grateful to be involved in the design,

1/4 PAGE Australian Monitor is EVOLVING

feel tired even when you listen to them for a long time, which is very important for a club’s business. In this sense, I think Clair Brothers’ sound is well suited for EDM and clubs.’ The setup has impressed those at First Club. ‘Clair Brothers has greatly exceeded our team’s expectations,’ concluded Mr Min. ‘With continued cooperation, our brands will surely grow together. I can’t wait to see what the future holds.’ www.clairbrothers.com

installation and commissioning of digital projections for some of the most outstanding exhibits in this museum,’ said Tony Chen, general manager, Wincomn Technology. ‘The projections serve as a bridge that connects visitors with ancient culture and history, enabling them to create a deeper emotional resonance.’ ‘In modern society where technology is constantly evolving, the display of cultural assets has become more diversiﬁed,’ added Lin Yu, vice president, Christie Asia Paciﬁc. ‘The use of digital projections can certainly augment the showcase of China’s history and cultural heritage.’ www.christiedigital.com www.hnmuseum.com www.wincomn.com

Meet the next generation of HS Series Mixer Ampliﬁers and Mixers 60W, 120W, 250W and Mixer Models • • • • •

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34 PRO AVL ASIA May–June 2018

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New from DiGiCo

SD12 SETTING A NEW STANDARD

Predictably Stunning In 2015, DiGiCo launched its compact S-Series, which ERDVWHG D PRGHUQ ZRUNÄ&#x2021;RZ DW DQ DIIRUGDEOH SULFHSRLQW last year, the whole SD Range became much more powerful thanks to the introduction of Stealth Core 2

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NEWS

Rhino adapts to the cold KOREA: An EAW Adaptive system was provided by Rhino Sound Systems for audio reinforcement for the Medals Plaza stage within the PyeongChang Olympic Plaza during the 2018 Winter Games. The 1,267m2 Medals Plaza played host to an array of cultural performances and video displays during the Games, as well as medal ceremonies in the evenings. With a wide, domed stage and an audience area wider than it was deep, the challenge for Rhino Sound Systems was to blanket the outdoor audience area while preventing spill over into other, nearby spaces. Gwon Seung Cheoul, manager and audio engineer at Rhino Sound Systems, utilised EAW Resolution 2 software to design the system and ensure even coverage throughout the audience area. The main PA system was housed in scaffolding towers to the left and right of the stage. Each tower held two columns of ﬁve Anya modules. Front-ﬁll was provided by eight Anna modules,

sub-zero temperatures of 0° to –15° degrees ever y day, throughout the Games. Once we had the system up and running, I never turned it off – for close to 30 days – and I never had any issues.’ ‘When our distributor, Dasan SR, told us that Rhino Sound would utilise Adaptive to reinforce the Medals Plaza stage, we

were delighted,’ said TJ Smith, president and general manager of EAW. ‘We are ver y, ver y pleased that EAW was able to play such a prominent role in the 2018 Winter Games. Gwon and the Rhino Sound team did an amazing job.’ www.eaw.com www.facebook.com/rhino.sound.systems

Medal Plaza ﬂown in L-R columns of four, located behind scrim above the video screens on the stage. Beneath each Anya array were 12 groundstacked Otto subwoofers. Left and right stacks of three KF730 enclosures and two SB1002Z subwoofers served as stageﬁlls, while stage monitoring was courtesy of eight MW12 and eight MW8 MicroWedge cabinets. System optimisation was taken care of by four EAW UX8800 processors.

‘I was ver y pleased with the sound and coverage when we tuned the system,’ recalled Mr Cheoul. ‘Resolution is easy to use and quite accurate – this was no exception. One of the reasons Rhino was chosen to reinforce the stage was because of the coverage and control our Adaptive system offers. Ever yone was ver y happy with the end result. The temperatures were also a concern. We worked in

Artemis hits the road in 7DLZDQ·V ÀUVW . +'5 2% YDQ TAIWAN: A Calrec Artemis Light digital audio console has been installed in Infinity Multimedia Production’s mobile broadcast unit, Taiwan’s first and only 4K HDR OB van. The console was specified and installed by Calrec’s Taiwanese distributor, Hi-Pro Technology. ‘Our truck continues to raise the bar for 4K production in the Taiwanese broadcast market,’ said Chia Wei Lin, vice president

Taiwan’s ﬁrst 4K HDR OB van

of Inﬁnity Multimedia Production. ‘To keep that momentum going, we must continually evaluate and upgrade the onboard systems. When the time came for a new audio mixing desk, we knew we had to work closely with Hi-Pro and Calrec from the beginning.

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36 PRO AVL ASIA May–June 2018

Value-added support, training and after-sales servicing were also large considerations before installing a reliable and fully redundant system to meet the range of production needs for local customers and international events. We expect to capture new business opportunities with the brand and the desk’s speciﬁcations. Many of our visiting overseas partners from Japan and Korea are already Calrec customers, so they are familiar with the operations and features of the desk.’ www.calrec.com www.hi-pro.tw

Uniline Compact, unrivalled precision and ﬂexibility

Uniline compact Modular line array system “ The Uniline Compact is the perfect solution for small to medium size venues hosting eclectic events. It is ﬂexible enough to deliver great performance for rock concerts, recitals, chamber music, speeches or theatre plays. The sound director of the Gimpo Art Hall is delighted with the result and impressed about how such a compact loudspeaker system can perform like a much bigger sound system. ” Sangwoo DO, CEO of Sound Place

www.apg.audio

NEWS

PM10s prove to be as smooth as silk in XXI Ballroom INDONESIA: Ten years have passed since the XXI Ballroom was officially opened as the flagship for the Cineplex XXI Group in the iconic Djakarta Theatre. Located on the second level, the showpiece facility is located at the site of the very first cinema opened by the group and regularly hosts a variety of striking corporate and private events including select wedding parties for up to 1,000 guests. As XXI Group has something of an image to uphold in the Indonesian world of entertainment, the A/V system has not been compromised in any manner. Capturing the eyes and ears of its spellbound audiences, a Barco DP4K-60L 60,000-lumens

Located in the main control room, one of the Yamaha PM10 consoles is used for FOH mixing

Unprecedented Control

laser projection system portrays HD images onto a 16m wide x 9m high mega screen, while an L-R Meyer Sound Leo line array system augmented by 10 1100LFC subwoofers enhances live and playback audio. In addition, the A/V equipment is synchronised to enhance live acoustic performances, while catering for pre-recorded and broadcast events, complemented by its own in-house postproduction facilities. Mina cabinets provide front-fill, a single UPQ-2P speaker serves as a central-fill and an inventory of MJF212A low-profile monitors constitutes the foldback system. In total, three Galileo Callisto 616 processors are employed

The iconic Ballroom XXI

Altea Feature r s

1/2 PAGE Island

- Compact multipurpose system with monitor position. - Ultra lightweight Class D amplifier with SMPS.

- DASlink™ all-in-one app for Altea 700 powered systems. - DAScontrol™ interface with 24 bit DSP and 3 band EQ. - 5 presets: Live, Dance, Vocals, Bass Boost and Monitor.

The Rivage PM10 console can handle as many as 144 mono inputs

- HD streaming in stereo for Altea 700 powered systems.

- Standby-Mode w/ adjustable time for energy efficiency. - Encoder lock to prevent tampering. - Two-channel mixer with mini jack AUX input. - Durable polypropylene enclosure for reduced weight. - Integrated rigging points and stand mount socket. - 4 ergonomic handles for ease of portability.

The new Altea powered systems give you maximum control over your sound. Impressive looks, the latest in pro-audio technology and an extraordinary ser of user-friendly features. Go ahead, take control. Contact us or a dealer near you.

38 PRO AVL ASIA May–June 2018

positions. ‘Since taking delivery in December 2017, I’ve found the PM10 layout to be practical, while the control surface is intuitive and easy to navigate,’ said Mr Sabariman. ‘I’ve been very impressed with the overall power and ﬂexibility of the entire system, including Rupert Neve Designs Silk and VCM processing and custom fader banks.’ Following 10 years of Yamaha experience, XXI Ballroom feels the PM10 and its 144 mono inputs will now allow it to better cater for orchestral performances that are staged here on some occasions. ‘The clarity on the top end features the clearest imagery that I’ve ever heard on a board.

to manage the entire speaker system. Having assessed the ballroom’s current audio inventory, the Yamaha PM1D console that had served the venue’s varied mixing requirements faithfully for 10 years was earmarked for an upgrade. ‘We’ve enjoyed working on the PM1D and it remains fully functional and problem free,’ explained sound engineer, David Sabariman. ‘I particularly liked the workﬂow of the PM1D and it never suffered a fault over all those years.’ Having grown accustomed to the layout and features of the PM1D, familiarity and reliability played large roles in the decision to acquire new Rivage PM10 consoles at both FOH and monitor

Being able to put eight inserts onto a channel is another great feature while the comprehensive onboard processing available means I should never require any outboard. I could not mix remotely via the Stagemix application on an iPad on the PM1D, but with the PM10 I can now. The Virtual Sound Check feature is a big benefit as I can enhance the mix while the performer is not there. With two PM10s, sending tracks to both the FOH and monitor positions during the Virtual Sound Check session is more accurate.’ Coinciding with the arrival of the PM10s to XXI Ballroom, Yamaha senior general manager Chihaya ‘Chick’ Hirai recently relocated to Jakarta from Singapore. ‘Naturally, the fact that we have delivered our first PM10s in Indonesia to XXI Ballroom is a magnificent testimony for Yamaha,’ commented Mr Hirai. ‘Yamaha is very proud of the association with XXI Ballroom as the PM1D console was a longtime favourite here before the PM10 and a DM2000 continues to be relied upon for the venue’s in-house postproduction works.’ www.21cineplex.com www.idyamaha.com www.xxiballroom.com

NEWS

disguise welcomes Australia with Open arms AUSTRALIA: disguise has completed a series of networking events in Australia to deliver product training for clients and business associates. Dubbed the Open House, the events present an opportunity for the disguise team to brief attendees on the previous year, including new branding, regional team expansion and the launch of new ranges. The 2-day Open House event in Melbourne was followed by two days of Fundamental Training. Another Open House event then

took place in Sydney and also preceded Fundamental Training.

Open House also served as a showcase for the latest

developments that will be part of the company’s upcoming software release, r15, including Lux, the new visualisation renderer that bridges the gap between technical planning and the creative vision. The new software release also includes OmniCal – a camera-based projector calibration system that quickly captures a point cloud of a stage, calibrates projectors to sub-pixel accuracy and conforms pre-existing sur face meshes to match reality. Turning

to hardware, disguise talked attendees through its gx range, which allows users to render video, audio, MIDI, tracking and automation data, or interactive inputs in real-time for shows that respond to their environments. The Fundamental Training sessions, meanwhile, covered the disguise production toolkit’s main features, including Timeline, Stage, Output Feeds and projection mapping functionality. www.disguise.one

Sound Devices joins Sennheiser VR programme WORLD: Sound Devices is the latest manufacturer to join Sennheiser’s Ambeo for VR par tnership programme. As an immediate result, Sound Devices’ MixPre-6 and MixPre-10T are the ﬁrst por table recorders that can be combined with Sennheiser’s Ambeo VR Mic to record and

monitor 360° spatial audio for VR video. ‘Sound Devices recorders have been used for ambisonic ﬁeld recording for many years, so it was a natural progression for us to bring our MixPre recorders into the new world of VR 360 recording,’ said Matt Anderson, CEO of Sound Devices. ‘We are happy

to par tner with Sennheiser to provide a high-quality VR recording and monitoring option for our MixPre-6 and MixPre-10T customers.’ Sound Devices will be releasing a free ﬁrmware update for the MixPre-6 and MixPre-10T that will allow recording from an Ambeo VR mic in ambisonic

A-format or B-format with suppor t for any mic orientation, including up, down and endﬁre, stereo or binaural headphone monitoring of the Ambeo VR mic and suppor t for AmbiX and FuMa B-format standards. www.sennheiser.com www.sounddevices.com

1/21/2 Horizontal PAGE

May–June 2018 PRO AVL ASIA 39

NEWS

A Naughty but nice UHXQLÀFDWLRQ SINGAPORE: As Rockcomms senior sales manager Zack Shariff will testify, there are times in life when you sometimes have to go back in time in order to go forwards. Having overseen various audio upgrades at Singapore’s Orchard Towers venue Naughty Girl over 15 years, Mr Shariff came to the conclusion that the original 2003 template he co-designed with Yusof Ahmad, Ibrahim Hassan and Moliano Rasmadi was the best to grace the music club. From Monday to Saturday, Naughty Girl hosts two live bands from 9pm until 8am with a DJ mix between the band sets, while each Sunday DJs entertain patrons all night. ‘The club has a rich musical heritage

and so the original JBL system we installed back then was developed for a plug-and-play setup with dbx 260 DSP applied,’ explained Mr Shariff. ‘Over the past 10 years, the club has changed the speakers and amps whenever the need arises and in irregular sequence. Therefore, I decided that the audio required a complete overhaul, citing system compatibility, reliability, after-sales servicing and a return on investment as being the main criteria. I therefore requested Yusof to demonstrate a Bose Pro system here at the club.’ A Bose ShowMatch DeltaQ system was put through its paces, convincing both club owner Abe Isaac and Mr Shariff that they

Rockcomms’ Zack Shariff and Bose Pro’s Yusof Ahmad with Naughty Girl rock band Ultimasia had found the solution for their nightly marathon needs. Providing 10° and 20° of vertical coverage, respectively, L-R ceiling-suspended ShowMatch SMS10 and SMS20 elements are augmented by four ShowMatch SMS118 subs under the stage. The ﬁlls and the timealigned tiers serving the seated areas surrounding the dance ﬂoor are served by Bose RMU208s. Combining a 12-inch woofer with eight 1-inch MF/HF drivers radiating 100° horizontal dispersion, eight F1

GST

SERIES

FERRITE MAGNET DIE-CAST CHASSIS DRIVER

GST-181200

40 PRO AVL ASIA May–June 2018

GST-151200

GST-15500

www.bose.pro www.rockcomms.com

L-R hangs of Bose ShowMatch SMS10 and SMS20 cabinets provide FOH reinforcement

$'$0 $XGLR website targets Chinese market

1/2 PAGE Island

GST-181500

812 speakers perform monitoring duties. Six of these flex array models cater for the monitoring requirements of the musicians on stage, while a further stereo pair assists the DJ mixes. A single Bose PM8500 8-channel amplifier together with two Powersoft X4 amplifiers provide ample power and additional DSP settings should they be required to activate the entire speaker system. Rockcomms provided new Canare 4-core loudspeaker cabling between the new speaker points and the amplification rack. ‘The audio system is a vital component for a club like this if it is going to be successful,’ commented the owner of Rockcomms, Patrick Wong. ‘If it’s not right, customers buy a drink, leave and don’t return.’ FOH mixing is performed on a Midas M32 console at FOH, where Mr Shariff often oversees operations. ‘Both the Bose and Powersoft amplifiers provide so much headroom,’ he explained. ‘Firstly, our customers have provided positive comments regarding the clarity and depth of

what comes across as a concert sound system whereby they can still converse. Secondly, DJ Shawn and his team enjoy the low-frequency punch from the SMS118s. And thirdly, I now have piece of mind knowing that if there is a problem with any component, Bose will instantly replace it for us over the next ﬁve years.’ But the ﬁnal word came from Ultimasia singer KC, who performs four hourly sets six nights per week. ‘We’ve played countless clubs with various systems across Asia, but this Bose setup stands out. It consistently performs and has not let us down. The monitors powerfully deliver a true replication of our mixes on stage allowing us to perform better.’

CHINA: ADAM Audio has linked up with Great Wall Musical Instrument to launch a new Chinese-language website in a bid to better target the market in China.

GST-12500

‘A strong online presence is crucial in every modern market worldwide and, of course, China is no exception,’ said ADAM Audio managing director, Christian Hellinger. ‘We are constantly working on bringing our philosophy and products closer

to our customers through digital channels, in their own language and words.’ Information on the website includes detailed product pages, user stories and various other technologies by the German manufacturer. ‘The history of the company and the deep knowledge of its engineers are unique in the pro audio world and we would like to get this message across to the customers in our home market by tearing down all language barriers,’ added Ye Jin Bin, who is the co-owner of Great Wall Musical Instrument. ‘In the long term, we believe that this will also beneﬁt our efforts in sales and building the brand.’ www.adam-audio.com/zh-hans

Access New Sales Opportunities at the Crossroads of Music, Sound and Event Technology

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A growing audience of live and installed sound professionals unite. The NAMM Show attracts a unique, powerful and international audience of professional visitors. From rental companies and touring professionals to theme park operators and house of worship representatives, The NAMM Show has more opportunities for pro audio manufacturers than ever before.

, DP SUHWW\ LPSUHVVHG ZLWK ZKDW 1$00 KDV GRQH 7KH\ȠYH , DP S brou brought the people to the show that we really need to see. stallers, Disney isney We are getting visitors from integrators, installers, and a lot of touring guys too.

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NEWS

Sound for Light Barrier KOREA: Seoul-based art and design studio, Kimchi and Chips, chose to collaborate with Junghoon Pi, professor of music and sound design at Seoul Institute of the Arts, on the third edition of its Light Barrier series due to the professor’s previous work with Out Board’s TiMax SoundHub immersive audio processor. As a result, a 16-channel TiMax SoundHub was employed on the project to add spatial dimension to

the art installation, which was commissioned by the Asia Culture Center in Gwangju. Professor Pi used the TiMax SoundHub dynamic spatial audio matrix to render and distribute an immersive soundscape. The installation, which uses a segmented mirror to split the beams from eight video projectors into 630 individual projection elements, which in turn creates a total of 16 million measured and calibrated pixel-beams, is

supported by 40 channels of audio. A total of 20 loudspeakers are driven by TiMax, with sources fed from an SSL Live L300 console during the 6-minute piece. The audio stems are played from Ableton software,

connected to the desk via RME MADIface XT. ‘TiMax was per fect for moving sounds from one loudspeaker zone to another,’ explained Professor Pi. ‘It really is so easy and effective with TiMax to create sound movements

through multiple speaker zones: just intuitive and simple. TiMax has the freedom to use any kind of loudspeakers and timeline cue playback is comfortable to me.’ www.outboard.co.uk

Brewing up an immersive super club MALAYSIA: Heineken’s Live Your Music tour recently travelled to Malaysia with a series of concerts at the KL Life Centre in Kuala Lumpur headlined by Tiesto and 88rising. Future Sound Asia organised the event and employed Analog Way’s Ascender 16 - 4K as a 4K scaler and switcher between resident and visiting VJs. The manufacturer shipped the device from its French headquarters directly to the event’s visual hardware supplier, Suara Cahaya Services in Kuala Lumpur. ‘The brief from Heineken Malaysia Berhad was to transform the live venue into an “Immersive Super Club” with the use of a custom set design to ﬁt the venue,’ recalled

Photo courtesy of Russel Especkerman – Future Sound Asia

Russel Especkerman, production manager at Future Sound Asia. This proved challenging due to the venue’s low ceiling clearance. ‘We had a little over 5m to work with on stage which didn’t give

us much room to be creative,’ Mr Especkerman continued. ‘We came to the conclusion that for this to work we’d need to maximise the rigging heights and build wide instead of tall in

An OverEasy solution

SINGAPORE: The Lo & Behold Group, seeking a better overall sound experience for patrons at its One Fullerton Road OverEasy American-style diner, turned to Electronics & Engineering Pte (E&E) to design and install a new audio system. Case Woo, product manager at the systems integrator, selected a Community loudspeaker solution based on the client’s various needs. In addition to better sound, the diner’s owners sought better zoning and a greater

42 PRO AVL ASIA May–June 2018

level control within each of the zones, while the outside zones required speakers capable of enduring torrential rain and the high humidity that Singapore is known for. Aesthetics were another consideration, which led to the installation of compact Community cabinets. To cover the upper dining section of the outdoor deck, Mr Woo chose Community W Series W2-228 8-inch quasi 3-way loudspeakers, with four W2-218 8-inch 2-way units to provide lower volume-ﬁll for the lower, family dining area. A pair of XLR input panels are positioned to allow for the addition of a subwoofer when a DJ visits the venue. Indoors, seven D Series DS8 8-inch sur facemounted loudspeakers and three D10SUB ceiling subwoofers cover the lower and upper

lounge dining areas. The entire setup is powered by Powersoft Quattrocanali ampliﬁers and zone control is offered by a Symetrix Radius with Arc panels. ‘The Community loudspeakers belie their size and produce clear, power ful sound,’ said Mr Woo. ‘The clients are pleased that we have met their objectives so effectively.’ www.communitypro.com www.enepl.com.sg

regard to the structure. We also faced some on-site revisions to the pixel map due to some rigging challenges.’ With the pixel mapping set and the server up and running, Mr Especkerman used Resolume software in preparation. ‘We were ahead of schedule with visual checks thanks to the plug-and-play usability of the Ascender 16.’ The VJs handled switching themselves using Analog Way’s Control Box². Tommy Lim, managing director of Singapore-based Visual Contact, was also on site, providing technical support. ‘When we were told that the VJs would be bringing 4K computers and we needed to switch seamlessly during their

transitions, Ascender became our first choice,’ he explained. ‘Using Ascender 16 enabled us to skip the regular way of using the quad scaler. Our input 2 and input 6 took in 4K@30, and we managed to map all the output layers with pixel perfection. We omitted the risk of using additional equipment and greatly reduced the latency without the quad scaler.’ In preparation, Mr Lim and his team were able to simulate the show in their office prior to the event using the Ascender and five HD monitors. ‘A working simulation always gives peace of mind to our clients,’ he concluded. www.analogway.com www.visualcontact.com.sg

VE8950 picks up Red Dot Design gong WORLD: Aten’s VE8950 4K video over IP extender has picked up a 2018 Red Dot Design Award for its human-centric design. ‘Aten has been focused on improving the user experience for our products for many years, and the honour of receiving the Red Dot Award serves as proof that we stand at the forefront of innovative product design,’ said Kevin Chen, president of Aten International. ‘As a leader in the A/V meets IT trend, we are committed to providing humancentric design solutions to ease the complexities of connectivity and to reach our goal of simply better connections.’ The VE8950 was developed to offer systems integrators

various solutions for large-scale digital signage and videowall deployments covering hundreds of metres. The products nominated for the award are recognised for functionality, innovativeness and quality. www.aten.com www.red-dot.org

NEWS

Soundscape widens

Pan Acoustics introduces 10-year warranty

The DS100

WORLD: d&b audiotechnik has announced integrations between its DS100 and the digital desks from a trio of console manufacturers. As a result, d&b Soundscape plug-ins will be available for the complete DiGiCo SD range, the Avid Venue S6L and the Lawo mc2 range. The integration with Avid will also include a plug-in for Pro Tools. The collaborations open up bidirectional interoperability between the DS100 via plug-ins operating on the Open Sound Control (OSC) protocol. The plug-in allows engineers to work with their existing sound console and DAW workﬂows by bringing the settings

for object-based positioning and room emulation directly onto the console surface for each individual channel. The positioning settings can then be stored in the mixer’s scene memory. ‘We understand that Soundscape must integrate smoothly with existing audio control workﬂows,’ said Ralf Zuleeg, the driving force behind the d&b Soundscape. ‘Through the implementation of plug-ins utilising VST, AU and AAX formats and the OSC protocol we ensure that the creative process for the designers and mixers is at one with their vision for the sound design.’

‘We wanted to improve the workﬂow when working with multi-loudspeaker installations by bringing console and loudspeaker matrix closer together,’ noted Lucas Zwicker, technical product manager from Lawo. ‘With having R1 directly in our console’s GUI and adjusting the parameters of Soundscape objects right out of the selected channel strip, we can now achieve this.’ www.avid.com www.dbaudio.com www.dbsoundscape.com www.digico.biz

WORLD: Citing its ‘Made in Germany’ status as a ‘guarantee of quality’, Pan Acoustics has started offering a 10-year warranty on its entire series of passive speakers and on active speakers where the electronics are designed and developed in-house. Customers are able to register for the extended warranty on the Pan Acoustics website. ‘Since Pan Acoustics designs every part of its products, we are able to use only the highest-quality components

and materials,’ explained Udo Borgmann, founder and CEO of Pan Acoustics. ‘Through our commitment to quality we are producing market-leading products and technologies that our customers can count on and believe in as much as we do. This belief in quality and reliability is demonstrated by the fact that for over 10 years our successful Pan Beam series has been installed in a huge number of installations around the world with outstanding reliability.’ www.pan-acoustics.de

www.lawo.com

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May–June 2018 PRO AVL ASIA 43

NEWS

LD Systems takes WAN into the night SINGAPORE: Named after the Chinese characters of ‘night’, ‘play’ and ‘food’, WAN is the new in-vogue premium nightclub and outdoor bar and kitchen located in Singapore’s Suntec City. The venue appeals to both those early evening diners followed by late night partygoers who seek to indulge in a decadent, distinctly Asian utopian setting. To cater for the audio, an LD Systems DDQ 15 setup was also supplied by Adam Hall Asia together with Lachmi Enterprise and Ethanol Pte Ltd. Characterised by a 1900’s Asian interior design, the clientele is sophisticated, discerning and energetic. When the clock strikes 11, the indoor club goes into overdrive with an electriﬁed atmosphere courtesy of highenergy beats where the hits keep

coming from the twin Pioneer CDJ2000 NXS2 turntables and DJM900 NXS2 mixers. The open format hosts a first DJ set of largely hip-hop, while the second comprises of floor-filled EDM. Adam Hall Asia supplier Lachmi Enterprise welcomed WAN Club

Visuals in a Flash NEW ZEALAND: Technical production company, AV Events, recently employed the Arista Corporation’s IP Flash Caster A/V over IP signal distribution system

Mr Pratt and the AV Events team used the ARD-3001 to connect to 10G switches at the stage and in the control area via a single cable. ‘From these, we were

and Ethanol Pte Ltd director Deep Chia to the showroom of Adam Hall Asia for full audio and lighting demonstrations. ‘Mr Chia and his team was most impressed with the range of the Cameo lighting on offer,’ explained Lachmi Enterprise’s Suraj Dar yanani. Having fixed overhead lighting bars and fixtures, the ceiling now hosts a power ful blend of Cameo Auro Spot 200 100W LEDs, Mobo Beam 100 moving heads and Thunder wash 600 RGB’, which combine a strobe, blinder and wash. ‘The music is synchronised to the audio and the effect is almost overpowering,’ added Mr Dar yanani. The LD Systems DDQ 15 system features 10 cabinets that have been fixed to the ceiling ensuring

no section of WAN Club is spared the full SPL treatment. Incorporating built-in DSP and dual 700W RMS Class-D amplifier modules, the 15-inch speaker operates within a 38Hz to 20kHz frequency range. Four floorstanding Stinger 15 Subwoofers enhance the lower frequencies demanded by the club’s patrons. ‘I was impressed with many of LD Systems’ speakers on offer, but the DDQs stood out for me,’ fur thers Mr Dar yanani. ‘The combination of these power ful ‘Made in Germany’ LD Systems speaker systems and Cameo lights has made this one of our most prolific projects to date.’ www.cameolight.com www.ld-systems.com www.wan-night.com

Stage Tec becomes Ravenna partner WORLD: Stage Tec has become the latest manufacturer to join the Ravenna partnership. ‘With our engagement in Ravenna we are pleased to be able to offer an even wider spectrum of IP solutions to our customers,’ said Helmut Jahne, CEO of Stage Tec, noting that the RIF67 router interface launched last year and the upcoming Nexus Fiber and IP

Interface (XFIP) are both Ravennacompatible. ‘With their proven Nexus technology, Stage Tec is clearly among the premium suppliers of distributed digital routing systems,’ commented Andreas Hildebrand, Ravenna Evangelist at ALC NetworX. ‘By adopting AES67 through the implementation of Ravenna, Stage Tec underlines the

Ravenna partner Philipp Lawo with René Harder, VP of Stage Tec importance of offering standardsbased ﬂexible interfacing options.’ www.ravenna-network.com www.stagetec.com

Wings over Ocean Park Jono Pratt (ARD-3001) in its inventory to deliver the visual presentation at a corporate event for food and beverage company, Lion. ‘Our IP Flash Caster was crucial to the success of the project,’ explained Jono Pratt, head of video at AV Events. ‘This was a large corporate event and awards dinner that took place at Skycity Auckland. We used Arista’s ARD3001 to get uncompressed 4K video signals from the control hub to the screens at the front of the audience. For projects of this nature, we typically have multiple screens up the front: for example, an LED screen, two foldback LCD TVs and a computer send from stage to control.’

44 PRO AVL ASIA May–June 2018

able to run our screen in 4K and the three foldback TVs in HD from that one cable,’ added Mr Pratt. ‘We had a short amount of time to relocate control from the corporate event during the day to the awards dinner that evening. Being able to deal with only one cable for vision was a tremendous help. Furthermore, the client wanted the foldbacks swapped around for different presenters wanting notes, timer and main presentation in different layouts. With the Arista system, I could do all of this from control using the supplied software.’ www.avevents.co.nz www.goarista.com

A performance of Divine Drums, accompanied by visuals from the Wings Engine Stage HONG KONG: Having rented an AV Stumpﬂ media server solution from Cosmo Pro AV for its Cyber Illusion Show in 2016, Ocean Park theme park has now invested in the manufacturer’s Wings Engine Stage for its new theatre space, the Applause Pavilion. Cosmo Pro AV was once again called upon to design the video system. ‘They needed a powerful and stable media server system that had up to four DVI outputs, in addition to live input, both 3G-SDI

The WIngs Engine Stage in the rack

and SDI,’ explained Jason Yeung, sales engineer at Cosmo. In addition to the Wings Engine Stage server, Cosmo specified and custom built a 16m x 7m down roller OptiZ system with a Holotive Polynet hologram screen. A Blackmagic Atem 2 M/E Production Studio 4K and Broadcast Panel were also installed, as well as a Novastar MCTRL660 LED controller. The AV Stumpfl media server brings all these components together. The setup was put through its paces during the theme park’s Chinese New Year celebration that featured a live show, Divine Drums, performed by Taiwan’s Chio-Tian Folk Drums and Arts Troupe six times per day for 10 days. The troupe was accompanied by an LED backdrop and an array of special visual effects with multi-timeline changeovers facilitated by AV Stumpfl’s RX software that was coupled with the Wings Engine Stage. www.avstumpfl.com

NEWS: SPECIAL REPORT

Understanding the local market

The Vega Indonesia team

Established in 2016, Vega’s branch in Jakarta has overcome local challenges and is now reaping the rewards, reports Richard Lawn TO PROSPER AS A MULTINATIONAL AV/IT systems integrator, the old adage ‘think global, act local’ resonates. Having started as a local distributor of audiovisual equipment in 1986, Vega isn’t a normal SI. Operating from its headquarters in Hong Kong, the company’s list of corporate clients is rapidly growing. As a selftermed ‘total solutions provider’, nearly 600 qualiﬁed personnel now operate out of more than 22 branches in APAC, Europe and the USA. Melvin Halpito was a new recruit when he was enlisted to get Indonesia online during the

company’s 30th anniversary. In his previous life working for Crestron, Mr Halpito rose through the ranks to become country manager. ‘Crestron is such an ideal place to work and I was really happy during my tenure but, when I started to seek new opportunities and challenges to grow my expertise, Vega came to me just at the right time,’ he explains. ‘I was the ﬁrst and only employee when Vega was brought to Indonesia in 2016. Just like any other multinational company expanding to other regions, we were faced with a wide range of challenges setting up the

Peter Eduard and Melvin Halpito with their supplier Goshen Electronics’ Diky Tanaya and Franky Cahyadi

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46 PRO AVL ASIA May–June 2018

business, such as establishing a permanent ofﬁce, building a team and positioning the company in the Indonesian market. I was glad we were able to overcome these challenges in a reasonable amount of time.’ Next came Peter Eduard who also wanted to maximise his potential and, like Mr Halpito, accepted the challenge of setting up a multinational company in a new territory. ‘We knew each other well and our skill sets were complementary. Peter has a strong IT background working with brands such as Cisco, Polycom

NEWS: SPECIAL REPORT and Microsoft. Our mutual understanding of control systems and networks is a big advantage in developing our business here in Jakarta. We both understand that A/V is a part of the room that is connected into the system and as such, our business bridges A/V with IT promoting unified collaboration (UC). I firmly believe that acceptance of where A/V sits has made us a strong global player.’ Over the years, Vega has drawn up an ever-increasing roll call of multinationals to its portfolio, such as banks and large financial corporations. Yet they share much in common – continued growth, international appeal and a need to work with partners in new territories they can trust. Vega has earned its trusted A/V partner status when setting up new offices for these companies as they are required to consistently deliver a global format template at the drop of a hat. Despite the fact that Jakarta is blessed with a large number of mature, established A/V turnkey solutions providers, Vega did not need to compete for projects. ‘Most of the companies we have worked with are US or European multinationals. When they make a decision to expand into Indonesia, you have to move quickly and fully understand what they want. This is where we are strong as we have worked with them for years in other territories; we have learnt to understand what makes their businesses tick having formed strong relationships. From the outset, we listen carefully as the brief can change and we have to adapt accordingly, such as occasions when we are forced to switch products owing to delivery problems.’ Multinationals create their own technical rider of preferred brands for their overseas operations, but this can be a problem in Indonesia. Vega’s standing in the market fully exemplifies the ‘think global, act

local’ credentials as Mr Halpito illustrates. ‘One of our US clients favours a specific screen for its offices. The product is not produced here in Indonesia and not only incurs high import duties but can have a delivery time of up to three months. In which case we make the client aware of the circumstances and provide the best product alternatives for them.’ Just as Vega has merited a preferred partner status amongst its clientele, it also draws upon a network of trusted suppliers throughout Indonesia. One of those is Goshen Electronics. ‘We’ve been working with Goshen from the start as we often order a large quantity of Shure microphones and conferencing systems as well as Biamp DSP products for a variety of projects. As Vega is normally called upon to integrate A/V solutions in very limited timeframes, we depend on our preferred suppliers to do the same. Goshen always carries stock and, over the past two years, we’ve developed a good working relationship whereby they have provided us with specialist advice and training.’ There is no template to Vega’s business model in Indonesia. Both Mr Halpito and Hong Kong-based global business development director, Matthew Deayton, fully realise that the archipelago cannot mirror Singapore or Japan. This is mainly down to the vast geographic nature of Indonesia, but the country also presents unique, logistical problems varying from gridlocked Jakarta traffic to multiple time zones. ‘We make monthly forecasts and try to evenly schedule works, but there are occasions when we are required to work on multiple projects and that creates enormous challenges.’ Officially, a global multinational company communicates in English, but this doesn’t always make things easier to understand. ‘We’re supplied with detailed technical drawings and data that we can

The Vega meeting room understand, but the language barrier is the most difﬁcult obstacle. Our clients have their own project manager forum, which is part UC and part global corporation so there is nothing hidden from the company’s perspective. As such there is a transparent ﬂow of information and communication

is speedy. But it takes time to understand.’ Just as the demand in its specialist AV/IT integration services has exploded over the past two years, so has the office. Based at Pondok Indah Office Tower 2 in south Jakarta, adjoining offices have been added, all of which

require their own specialist IT integration. The growing sales and technical integration teams work closely together on projects, while marketing, administration and financial expertise have also been added. ‘Selective recruitment is paramount in any business and you have to find the right specialist players for your team firstly to sustain and then to grow.’ The Jakarta office can provide limited support for its expanding clientele in other major cities, so satellite branches have been created in Surabaya, Bali and Medan. More will follow. ‘The manner in which Vega operates is very different from the rest here in Indonesia. We customise Vega’s way of doing business to Indonesians in the same way as we manage AV/IT convergence – we mirror a bridge between the two disciplines.’ www.vega-global.com

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Country manager (Indonesia) Melvin Halpito at the Pondok Indah HQ

May–June 2018 PRO AVL ASIA 47

EDUCATION SEMINAR DIARY

Asia just got a lot Smaarter

2 – 3 MAY

ASIA: During the month of March, more than 100 audio professionals across Asia attended a series of training classes for Smaart, the acoustic test and measurement software developed by Rational Acoustics. Smaart product manager Chris Tsanjoures conducted the classes, each of them spanning two or three days. Starting off in Manila, where it was co-hosted by local audio entrepreneur Marci Sang-olan, Mr Tsanjoures continued to Kuala Lumpur and Singapore, where

Adamson Applied Certiﬁcation Melbourne, Australia Attendees will learn fundamental skills, as well as tips and tricks to deploy an Adamson system and gain an understanding on the technology that provides the backbone for these systems. www.cmi.com.au

22 MAY

d&basics Workshop Yokohama, Japan Attendees are familiarised with the basics of acoustics, loudspeaker characteristics and design, and provided an introduction to the E-Series, T-Series, Y-Series and Monitor systems along with d&b ampliﬁers.

Chris Tsanjoures elaborating on transfer functions

4 – 7 JUNE

MALAYSIA: Stagetec Asia’s Stagetec Media Academy recently hosted Dante Certification training for levels one to three. The 2-day workshop was staged at the Malaysian Global Innovation & Creativity Centre (Magic) in Cyberjaya in collaboration with Audinate and supported by Yamaha Malaysia, and attracted more than 50 attendees from radio stations, TV networks, manufacturers, systems integrators and universities. Dante Certification training prepares participants for the Dante certification examinations by providing a comprehensive understanding of the technology. The seminar kicked off with an introduction by Advon Tan,

EASE Training Canberra, Australia This 3-day course covers AFMG’s EASE Focus software with an optional fourth day providing attendees with a tour of a local church project to see how AFMG products were used there. www.scientiﬁc-acoustics.com.au

26 JUNE

Ampetronic Installer Auckland, New Zealand

www.jands.co.nz

26 – 27 JUNE

School of Emerging Technologies 4K Macau This course is concentrated on preparing A/V infrastructure for current 4K needs and an 8K future. www.extron.com

www.enepl.com.sg www.rationalacoustics.com www.smaartcorea.co.kr

The Seoul Smaart class Electronics & Engineering (E&E) had organised the sessions. The ﬁnal training was held in cooperation with SmaartCorea in Seoul. ‘We always see a good mix of people in our classes, from attendees familiar with audio basics and eager to grow, to established professionals wishing to gain a deeper understanding of the tool that is Smaart,’ Mr Tsanjoures said. ‘There seems to be lots of opportunity in Asia for

The Manila Smaart class

Stagetec Media Academy tackles Dante

www.dbaudio.com

This course covers all aspects of induction loop systems, including site surveys, installing, commissioning and troubleshooting. It is aimed at audiovisual professionals, integrators and contractors.

live audio. It’s an exciting market and I was glad to present how Smaart can be used to efﬁciently achieve consistent success.’ All participants were handed a certiﬁcate of attendance and given the chance to purchase a Smaart licence at a discounted rate.

managing director of Stagetec Asia, following which Audinate technical training manager Danu Vino commenced with the training. ‘The purpose of the training is to analyse and review the pros and cons of Dante, its capabilities and limitations, in order to maximise the use of the technology to ensure the ideal

system implementation,’ explained Mr Tan. ‘Bringing live Dante Certiﬁcation training seminars to the region allows us to cultivate an approach of value-added learning to all end users and broadcasting professionals.’ Patricia Leow from Yamaha thanked Stagetec Asia and Audinate for the opportunity to

collaborate on the seminar. ‘This training is part of Yamaha Music Malaysia’s continued efforts in increasing and improving the professional audio industry’s understanding of Dante audio,’ she said. ‘This training was timely as the participants’ response just shows just how well Dante has been received and accepted in Malaysia.’ One such participant was Idham Muchtar, an audio engineer for the Malaysian government. ‘The training deﬁnitely helped me in better understanding the digital audio network that I’m currently using, especially for advanced audio routing,’ he commented. www.stagetecasia.com

QSC jams in China CHINA: Digital mixers and loudspeakers from QSC were recently put to use for a training seminar and live performances that aim to bring attention to Rock School education in China. QSC’s distributor in Asia, PCI, had recently teamed up with RSL – the educational institute behind Rock School – with the aim of promoting it in China. Two events were held: a training seminar on digital mixing for the Rock School franchisees and a live performance by young bands. The TouchMix-8, TouchMix-16 and

48 PRO AVL ASIA May–June 2018

TouchMix-30 Pro compact digital mixers, four KLA12 active line array loudspeakers, four KW181 active subwoofers and the K10.2 and K12.2 active loudspeakers were deployed. ‘With the function of recording and playing back the track for a speciﬁc band member, TouchMix solves the problem of having to suspend the rehearsal or gig because of the absence of any one member,’ said PCI’s Bin Wang. ‘A band member is able to practise his or her own performance under the background of recorded tracks

of other performers, simply by muting his or her own track and playing along live.’ The TouchMix also incorporates an Anti-Feedback Wizard that is said to detect the problem frequencies and reduce gain when mixing ensembles live. The live performances saw the TouchMix 30 Pro, KLA Series line arrays, KW181 subwoofers and

K12.2 monitors called into action. The speaker system for the 400m2 hall consisted of the KLA12 line array loudspeakers with their horizontal coverage at 90° per box and vertical coverage at 18° per box. www.qsc.com www.rslawards.com

NEWS: EDUCATION

Sun Infonet introduces $OOHQ +HDWK·V 64 FRQVROHV INDIA: Allen & Heath’s Indian distributor, Sun Infonet, recently led a series of 1-day workshops in Mumbai, Bengaluru and Goa. The workshops provided certiﬁcation on digital consoles and served as launch events for the manufacturer’s SQ digital mixers in each city. The sessions were attended by sound engineers and rental company representatives, and led by Chris Pyne, Allen & Heath’s technical marketing director, Asia Paciﬁc. He discussed topics such as the history of sound reinforcement and the basics of

The Bengaluru group

The Mumbai class

digital audio before launching into the features of the SQ-5 and SQ-6. ‘This training particularly beneﬁted those sound engineers who were new to Allen & Heath or had just shifted from analogue to

digital,’ said Rohit Reddy, product manager at Sun Infonet. The distributor’s director, Neeraj Chandra, commented on the beneﬁts that Chris Pyne, who has served as a live and recording engineer for performers

BXB looks to the present and future

PHILIPPINES: BXB’s Filipino distributor, Fil-Nippon Technology Supply, recently conducted a 3-day seminar entitled AV/IT Integration – Now & To the Future alongside its strategy partner, Globaltronics. The event was held at Clock In BGC in Bonifacio Global City and was presented by BXB sales manager Selena Huang, who discussed IoT (Internet of Things) concepts and video conferencing solutions. The Clock In BGC venue has itself been equipped with a BXB ICP-5000

WORLD: A year after introducing its Applied Certification, Adamson Systems Engineering has formally unveiled its Advanced Certification training programme. The programme is aimed at touring system engineers and integrators who regularly implement Adamson E-Series and S-Series loudspeaker systems in large-format deployments or design projects. The Advanced Certification course further explores aspects of design and control while also covering electro-acoustic concepts and applications. Additional techniques and best practices are taught for Blueprint AV software, as well as advanced system control and alignment concepts. ‘Advanced Certification has been designed for experienced

system engineers deploying complex systems in demanding environments,’ said Jeremiah Karni, head of Adamson Education, who built the syllabus. Those who have already obtained the Applied Certification are able to take a 2-day course to earn their Advanced Certification. Alternately, those who have not completed the Applied course can take part in a 3-day fast-track Advanced Certification course. All participants will receive an official certificate of attendance upon completion.

INDIA: Avixa’s Certiﬁed Technology Specialist (CTS) programme has been accredited by India’s National Accreditation Board for Education and Training (NABET).

‘With a growing Indian A/V market, there is a large pool of professionals in demand,’ said Gaurab Majumdar, Avixa’s regional director for India and the Middle East. ‘This announcement is an extension of Avixa’s commitment to India’s rapidly expanding A/V market. This certification, now recognised by NABET, will help Indian students pursue a career path in this industry. As the CTS programme continues to be adopted in India, it will become the gold standard by which qualified A/V professionals are distinguished.’ Avixa’s global CTS programme has been ongoing for 30 years and has handed out over 13,000 certificates to A/V students. Avixa will bring its InfoComm India tradeshow to the Bombay Exhibition Centre in Mumbai between 18 and 20 September this year.

www.adamsonsystems.com

www.ﬁlnippon.com

www.avixa.org

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50 PRO AVL ASIA May–June 2018

Avixa gains NABET nod

www.allen-heath.com www.suninfonet.net

$GDPVRQ FHUWLÀFDWLRQ gets Advanced

multimedia PA system, which was used for real-world demonstrations of the technology in use. The ICP5000 is used for environmental control, A/V broadcasting, announcements and security onsite. It allows training content to be projected in remote classrooms, facilitates the scheduling of classes and exams, and transmits images from the PA control station and CCTV system to the meeting room, turning it into a command station in the event of an emergency. In addition, a BXB Q.con video conferencing solution was set up in a demo room, allowing attendees to try out the manufacturer’s conference microphones and the system’s speaker auto-tracking functionality. www.bxb.tw

such as Kylie Minogue, Dame Shirley Bassey and Jennifer Lopez, brought to the workshops. ‘These workshops were definitely beneficial in helping sound professionals learn techniques and troubleshooting from Chris Pyne, who has dedicated almost 37 years to this industry,’ Mr Chandra stated. ‘After attending this training, attendees felt confident in operating the Allen & Heath mixers.’ One such attendee was Prashant Rane, owner of Mumbai-based rental company, Rane Brothers. ‘It was a really fantastic experience,’ he said. ‘We all gained from Chris’ knowledge, from his vast experience in the industry. And yes, we have added an SQ-6 to our inventory.’

Vero is a large format sound system, which has been engineered for superior levels of audio and operational performance. It was designed and developed by some of the most knowledgeable and experienced audio engineers in the world. 8GTQťU WPKSWG Ź[KPI U[UVGO GPUWTGU CDUQNWVG FTKXGT alignment, which guarantees coherency and results in an incredibly immersive stereo sound stage. Angle adjustment can be made under load, allowing for arrays to be transported CPF ŹQYP KP C UVTCKIJV NKPG RTKQT VQ DGKPI VGPUKQPGF VQ exact angle settings. Load ins and load outs have never been more straightforward. Its meticulously crafted proprietary waveguides and driver technology produce naturally even frequency response and coverage. The result is uncompromised system dynamics, headroom and coherency, which is why Vero is appreciated by sound engineers all around the world.

www.vero-system.com

T H E

N E X T

L E V E L

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DISTRIBUTION New Sri Lankan RCF distributor educates

Analog Way enters the Cosmo

SRI LANKA: Having recently been appointed as the Sri Lankan distributor for RCF, Multi Audio Visual staged a 2-day RCF Audio Academy training seminar to introduce the Italian brand to the local rental market. More than 150 people attended the seminar led by RCF product specialist Lucio Boiardi Serri, who ﬂew in from Italy. Point source and line array systems were covered with an exploration of the physical principles of linear source systems. Subwoofers were also discussed in depth before the workshop launched into system design with a look at RCF’s Shape Designer and RDNet Networked Management software and measurement tools such as Smaart, followed by system optimisation and temporal alignment of audio systems with RDNet.

HONG KONG: Analog Way has agreed distribution terms with Cosmo Pro-AV to represent its product catalogue of A/V converters and presentation switchers in Hong Kong and Macau. Cosmo, which offers rental and staging services in addition to distribution, is equipped with a team of A/V professionals, a showroom and studio in which to demonstrate products and provide customer training. Its portfolio includes a variety of

In addition to the live sound workshop, the event also comprised a product demonstration, including combinations of the HDL 6-A with the Sub 9004, the HDL 20 and Sub 8006, the HDL 30-A alongside the Sub 9007, and the HDL 50-A paired with the Sub 9007.

notable pro A/V brands, such as AJA, AV Stumpﬂ, Draper and Digital Projection.

‘The proven experience and field knowledge of Cosmo’s teams will be a major asset for our growth plans in Hong Kong and Macau,’ revealed Adrien Corso, CEO of Analog Way. ‘We look forward to a fruitful collaboration and are convinced that our customers in rental and staging as well as in fixed installation markets will benefit from the best support possible.’ www.analogway.com www.cosmoproav.com

www.mavlk.com www.rcf.it

NSL brings Visionary Solutions to New Zealand NEW ZEALAND: NSL has been named by Visionary Solutions as the video networking solutions company’s exclusive distributor in New Zealand. ‘This is our ﬁrst partnership with a video solutions provider and we’re excited for the opportunities this brings,’ said NSL managing director, Roger Wilson. ‘Visionary

Solutions – along with our current brand offerings from Shure, QSC, Pointmaker, and Williams Sound – is a great match. This enables NSL dealers to offer a complete networked audio, video and control solution utilising standard IT network protocols and standards such as AES67 and Dante.’

Scott Freshman, who is COO of Visionary Solutions, added: ‘This alliance with NSL is very well timed to coincide with Visionary Solutions’ growth in New Zealand and the APAC region overall. NSL is the ideal partner for us to work together in creating brand awareness, as well as providing after-sales support.’

1/3 PAGE

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disguise.one/en/products/gx

52 PRO AVL ASIA May–June 2018

Visionary Solutions also recently entered a partnership with QSC for its PacketAV Matrix Products which include a video control plug-in and options for audio integration via AES67, Dante or Q-Sys Media Stream Receivers. www.nsl.co.nz www.vsicam.com

NEWS: DISTRIBUTION

Blonde Robot brings Shotoku appoints Sonnet Technologies dealer down under to SEA

Sonnet’s Greg LaPorte ASIA: Headquartered in Malaysia, Blonde Robot has been appointed by Sonnet Technologies to exclusively distribute the manufacturer’s professional video products throughout South East Asia as it looks to expand its business in the region. The agreement assumes responsibility for the entire Sonnet product family

in Singapore, Thailand, Malaysia, Indonesia, the Philippines, Vietnam, Cambodia, Laos and Myanmar. ‘Blonde Robot is the perfect partner to help us expand our market share and take advantage of new opportunities in the vital South East Asia region,’ said Greg LaPorte, vice president of sales and marketing, Sonnet Technologies. ‘Besides providing a local and readily accessible inventory of product in South East Asia, Blonde Robot will be an important resource for our resellers that are already active in Malaysia, Singapore and Thailand. This partnership will be a win–win for everyone there, especially our customers.’

ANZ: Shotoku Broadcast Systems managing director James Eddershaw has announced Magna Systems & Engineering as the camera support product manufacturer’s new dealer in Australia and New Zealand. ‘We are excited to be working with Magna Systems, a leading technology and services provider across the region,’ said Mr Eddershaw. ‘The well-established firm has earned an impeccable reputation for furnishing first-rate solutions and support to major broadcasters and government organisations in both countries, and we’re confident that our

Shotoku’s James Eddershaw customers will beneﬁt from their experience generally, and

especially in robotic camera systems.’ Matthew Clemesha, CEO of Magna, added: ‘Shotoku is unquestionably a leader in advanced camera support products and are a perfect ﬁt with Magna’s customers and product portfolio. The company is well known for robotic, AR/VR and manual camera support so we are looking forward to a successful partnership and to helping supply broadcasters in both Australia and New Zealand with their solutions.’ www.magnasys.tv www.shotoku.tv

www.blonde-robot.com.au www.sonnettech.com

A One Indian partnership for Coda

The A One team INDIA: A One Global Entertainment is the new Indian distributor for Coda Audio. The Chandigarh-based company was ﬁrst introduced to the German manufacturer’s systems at Musikmesse Frankfurt 2017, following which a series of conversations led to A One representatives visiting Coda HQ in Hanover and, subsequently, the distribution partnership. ‘When we visited Hanover, we were amazed by the potential and capabilities of Coda Audio systems,’ recalled Nitin Thakur, MD at A One. ‘What also came across very strongly was the sense that the people behind Coda are totally committed to their vision, with an ethos of always striving to improve. There’s no doubt that the versatility of Coda systems makes them effective for any number of

applications. For installers and rental companies alike, I really am convinced that these systems are the future of the industry.’ Paul Ward, director of global business development at Coda Audio, commented on the partnership: ‘A One is a highly reputable operation with a thorough understanding of the Indian market. The A One team was quick to see the advantages that Coda systems can bring to customers right across the sector and we’re certain that they will prove to be a pro-active and highly effective distribution partner. We’re looking forward to working closely with them in what is a large, growing and fantastically diverse marketplace.’

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www.aone-events.com www.codaaudio.com

May–June 2018 PRO AVL ASIA 53

NEWS: DISTRIBUTION

A new chapter for Eric Haslim and ARX INDONESIA: PT Rhema Multi Perkasa has taken on the distribution rights to the ARX product range in Indonesia. The Australian manufacturer of signal processing products chose its new distribution partner due to its established network in multiple markets. PT Rhema Multi Perkasa’s distribution portfolio already includes the likes of Martin Audio and Adam Hall. ‘ARX ﬁts perfectly into our product portfolio,’ said the distributor’s managing director, Eric Haslim. ‘Having known Colin, Duncan and David at ARX for more than a decade, I truly enjoy the working relationship and friendship that formed the solid foundation of the business. ARX is wellestablished both internationally

and in the Indonesian pro audio industry. Hence, I look forward to continuing to build its portfolio for many years to come.’ ARX managing director Colin Park

revealed where the relationship with Mr Haslim began: ‘ARX previously worked with Eric for many years when he was at PT Citra Intirama, our previous distributor. It’s fantastic that we’re able to continue our relationship and friendship. ‘PT Rhema Multi Perkasa has been handling many corporate clients for years, focusing on their professional audio needs both in sound reinforcement as well as systems integration,’ Mr Park continued. ‘Eric and his new team, with their years of experience in the industry, are the ideal partners to further grow the market and user base for ARX’ digital and analogue product range in Indonesia.’ www.arx.com.au

Yamaha Music Asia adds UC SINGAPORE: Yamaha Music Asia’s distribution remit has expanded to include Yamaha’s Uniﬁed Communications (UC) solutions. Yamaha Music Asia is a subsidiary of Yamaha Corporation. The agreement will see Yamaha Music Asia distribute Yamaha’s CS-700 collaboration system for huddle rooms and the YVC1000MS USB speakerphone, which is certiﬁed for Skype for Business.

‘With the valuable addition of Yamaha UC products to our current line-up of Yamaha commercial audio products, Yamaha Music Asia will be able to deliver a wider range of products and a total systems solution to our business partners and customers in this industry,’ commented Lawrence Tan, assistant general manager of Yamaha Music Asia. sg.yamaha.com

Otaritec gets PMC nod for Japan JAPAN: PMC has appointed Otaritec as its new distributor for Japan with the British manufacturer looking to reinforce its marketing campaign for its result6 monitors in Asia. ‘Otaritec’s longstanding reputation for delivering the best products and services into the Japanese audio markets made them the obvious choice to work with in the region,’ commented PMC’s business development manager, Chris Allen. ‘I am very excited to continue supporting our current PMC users there, as well as develop new, exciting opportunities with Otaritec for years to come.’ PMC recently unveiled its latest entry-level 6-inch active

PMC’s Chris Allen with Hisashi Hosoda and Satoshi Nishihara of Otaritec studio monitor in the shape of the result6 in a bid to make its high-end quality products more affordable to customers and

to also open up new markets. Japan, and indeed Asia in general, is a market PMC has set its sights on.

‘I would say the entry-level broadcast – and particularly radio – is an area that we would be targeting with result6,’ added PMC’s international sales director, Miles Roberts. ‘That is a market sector that we are looking to target quite aggressively. We have good distribution in Japan, Australia, China, Hong Kong, South Korea, India and Malaysia and have been developing our brand there in the last 15 or 16 years. I expect the result6 to open a new market for us in Asia.’ ‘PMC doesn’t mass produce its products and this was an important consideration for us,’ added a statement from Otaritec, which also distributes Lawo,

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54 PRO AVL ASIA May–June 2018

Riedel and d&b audiotechnik in Japan. ‘The brands we represent are all for the professional market and our customers expect them to be of the highest quality. PMC ﬁts these criteria and we love their products because the technology is so original. The company has a long history in the Japanese pro audio and consumer markets and we are looking forward to sharing that history with the next generation of producers, engineers and musicians who have yet to learn about PMC’s values and its unique ATL technology.’ www.otaritec.co.jp www.pmc-speakers.com

Pure Array Technology incredibly thin line array microphones

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Designing unique audio solutions never dreamed of before.

APPOINTMENTS Ravisankar Nadiyam heads up sales at Overtone INDIA: Ravisankar Nadiyam has joined Overtone Audio as the head of sales. He will spearhead a new sales initiative to target the broadcast and live sound sectors and was personally approached for the role by company founder, Vinod Subrmanian. ‘Ravi brings an immense wealth of experience and ideas to Overtone in its foray of expansion into the broadcast and television markets in India,’ said Mr Subrmanian. ‘In the very short period of time that has elapsed since he ofﬁcially

joined, the amount of traction he has generated in the market for Overtone Audio is a harbinger of exciting times to come.’ Mr Nadiyam’s career spans 20 years and includes roles at Avid where he managed the live sound business for emerging territories in the EMEA region – Africa, the Middle East, Russia and the Indian Sub-continent – and later occupied the position of audio sales manager, driving sales within the live sound verticals. ‘After two decades in the audio

industry where I was focused on one manufacturer’s products, to be able to offer a full range of best-inclass gear, giving the end user the ﬂexibility of a purchase based on their speciﬁc usage and the budget is what interested me when Vinod spoke to me,’ said Mr Nadiyam. ‘Vinod and I are equally passionate about ensuring the client gets the right advice and that the entire process through to after-sales support is unmatched.’ Ravisankar Nadiyam

www.overtone.audio

PSA picks Sides WORLD: Jim Sides has taken on the role of vice president of global partnerships at Point Source Audio (PSA), a position he will hold alongside running his recently founded company, Eklektric. Mr Sides has been working with PSA as a consultant since late 2017 and brings more than 40 years of industry experience to the table,

having held senior management positions at Apogee Sound, Nexo USA/SA and Meyer Sound Labs and co-founded Vue Audiotechnik. ‘We have a number of US and international initiatives that are perfect for his proven skill set,’ said Yvonne Ho, VP of sales and marketing at PSA. ‘After Jim came on board as a consultant,

it quickly became clear that there was tremendous potential for a ﬁt at a time when PSA is on a growth trajectory around the world.’ ‘I’m excited to be involved with PSA and to be a part of their continued success,’ added Mr Sides. Jim Sides

Vincent Philippo ‘In David and Vincent I am conﬁdent we have added the right calibre of talent, ability and experience to ensure the company continues growing in the right direction to meet the needs of the current and next generation of customers and help keep WyreStorm ahead of the curve and on the cutting edge,’ commented WyreStorm’s CEO, Derek Hulbert. David Silberstein

56 PRO AVL ASIA May–June 2018

www.wyrestorm.com

Dave Dougall

product development is deﬁnitely a catalyst for innovation.’ Prior to his appointment, Mr Carmichel was most recently principle engineer, acoustics and audiologics engineer for Doppler Labs. His other previous roles include ﬁeld application engineer at Knowles Corporation while he was also the founder/engineering consultant for Cochlear Concepts.

Mr Dougall possesses more than 25 years of broadcast industry experience. Prior to joining Vitec, he served as the head of A/V media and solutions sales for Sony Professional Solutions Europe, where he merged the product and software systems sales teams into a single division. Across the Atlantic, Mr Dougall also led sales and service operations for Harris Broadcast Communications in North America. ‘Since joining the company a little over two years ago, Dave’s intense drive, conﬁdence and perseverance has helped us achieve tremendous growth across the EMEA region,’ said Allan Hollis, senior vice president of Vitec Group’s production solutions division. ‘Dave’s record of achievement in delivering quality business outcomes and increased sales will continue across Asia-Paciﬁc, and I know he will continue to be a great asset to broadcasters, content creators, photographers and all of our customers in their quest to capture and deliver exceptional content.’

www.countryman.com

www.vitecgroup.com

last 14 years at Crestron. He will oversee WyreStorm’s global sales outside of the US.

WORLD: Countryman Associates has appointed Eric Carmichel to the role of chief engineer with the task of deﬁning feature sets for new products and being active in numerous aspects of the company’s technical operations. His new role includes working with the mechanical design team to tune the acoustic properties of new microphones, testing prototype PCBs, assisting others on the engineering staff with design considerations and occasionally addressing secondtier technical support inquiries. ‘Because their manufacturing is in-house, they have the requisite tools and specialised equipment for rapidly prototyping novel audio products,’ commented Mr Carmichel. ‘I look forward to adding expertise to the R&D environment as well as Countryman’s acoustical measurements laboratory. I enjoy the theory, maths, and electronics, but a hands-on, “build it and test it” approach to

WORLD: Dave Dougall, vice president of sales for the Europe, Middle East and Africa (EMEA) regions at Vitec Group, has added the AsiaPaciﬁc region to his remit. In his new role as vice president of sales for EMEA and AsiaPaciﬁc, Mr Dougall aims to grow the broadcast equipment manufacturer’s sales in the APAC region as he has in EMEA since joining the company in 2016.

www.point-sourceaudio.com

WyreStorm bolsters Countryman management appoints chief engineer

WORLD: WyreStorm has made two new additions to its senior management team that sees David Silberstein appointed as director of technology and Vincent Philippo as vice president of international sales. Mr Silberstein joins the company after almost two decades at Crestron and will be responsible for product development across each of the company’s HDMI, HDBaseT, ﬁbre and A/V over IP product lines, as well as for technical support and product documentation. Mr Philippo similarly possesses nearly two decades of experience in the A/V industry having spent the

Vitec EMEA VP takes on APAC

NEWS: APPOINTMENTS

Hills CEO appointed MD AUSTRALIA: Hills has appointed its CEO, David Lenz, as managing director. Mr Lenz joined the company in 2015, prior to which he worked at Ingram Micro for seven years in several roles, most recently heading the security and pro A/V division. His total experience spans 25 years in sales, business development and operational leadership positions in Australia, New Zealand, Asia Paciﬁc and global IT markets.

‘The board congratulates David on this appointment,’ explained Jennifer Hill-Ling, Hills’ chairman. ‘Prior to taking on the role of chief executive ofﬁcer in September 2016, David played a key leadership role as the chief operations ofﬁcer and head of Hills’ key building technologies division. As CEO, David has been the driving force behind the implementation of turnaround strategies including bringing

Hills supply chain operations inhouse and the delivery of a new e-commerce platform to better serve our customers. ‘David has a deep understanding of the industries and markets Hills operates in, and a proven ability to work with customers, vendors and partners to drive growth and deliver results.’ Mr Lenz commented: ‘The business continues its transformational journey and

David Lenz

I am excited and committed to continue to lead this iconic company through this time of change. There have been a number of challenges along the way, but I am pleased with our progress on executing the strategies and initiatives that will return the business to proﬁtability. I look forward to delivering value back to our shareholders.’ www.hills.com.au

Rajesh Mittal joins QSC INDIA: Leading the local sales and marketing team that serves the systems, live sound and cinema businesses, Rajesh Mittal has been appointed by QSC as director of sales and marketing, QSC India. Based out of the QSC ofﬁce in Bangalore, he joins the company from Samsung where he played a key role in making the company a market leader for large-format displays.

INSIDE3/4 THEPAGE WORLD’S MOST

ADVANCED Rajesh Mittal ‘I am honoured to join the growing team at QSC,’ said Mr Mittal. ‘There is an exciting growth opportunity here and I’m looking forward to bringing QSC solutions to the SAARC region.’ ‘We opened ofﬁces in India last year to offer a local and dedicated sales and support team to our customers in the SAARC region,’ added Ron Marchant, senior director of sales, QSC Systems, EMEASA. ‘Rajesh brings a wealth of knowledge and experience to QSC, and we look forward to his integral role in helping us further develop our sales and marketing capabilities in the region.’

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May–June 2018 PRO AVL ASIA 57

NEWS: APPOINTMENTS

Vega Global hires Ricky Lee for South Korea KOREA: Ricky Lee has been appointed to develop Vega Global’s South Korean client portfolio as he takes on the role of country manager for South Korea at the systems integration ﬁrm. He will be responsible for overall operations in the country and for expanding the business. ‘South Korea is without a doubt the most dynamic and aggressive marketplace for technology and innovation among all countries in Asia,’ said Laurie Chow, managing director of Vega Global. ‘The market continues to show strong growth across various sectors,

which culminates in a multitude of audiovisual design-related opportunities for Vega. We are conﬁdent that Ricky is the right person to further our growth in the region; his knowledge of Korean business culture is deﬁnitely an asset to drive greater business outcomes.’ With 24 years of experience in managing technical and sales teams across various industries, including a recent role managing the A/V systems and providing event support for Google’s Campus Seoul, Mr Lee is excited to embark upon the challenges presented

Ricky Lee

Martin Audio gains extra support WORLD: Martin Audio has appointed Ben Tucker as product support engineer as the company looks to meet demands for in-ﬁeld support across the world for live sound production and training. ‘I’m delighted to join the team, to learn and grow, and be involved in the increasing number of live productions Martin Audio is now dealing with,’ commented Mr Tucker, who has swelled the product support group at the company to a 6-member team. ‘I am happy to help its customer base get the most from its products.’ ‘The team is set up to be

adaptable, in order to support customers anywhere in the world, rather than being region speciﬁc,’ added Dan Orton, who heads the product support group. ‘This allows us to better balance different application demands coming from different regions at different times of the year. With the runaway success of recent product launches and a host more to come in 2018, the timing couldn’t be better.’ After graduating with a live sound foundation degree from the University of Plymouth and a BTEC in music, Mr Tucker worked for Milestone Sound but also

Karri Ahde by his new position. ‘I was very impressed with the capabilities Vega has built in APAC,’ he said. ‘I am targeting a sustainable business growth based on the existing clients and by enabling our channel partners to bring dynamic solutions to enterprises across the country.’

Ben Tucker freelanced as a live sound engineer at various events where his roles included designing, preparing and deploying audio systems as well as carrying out console operation duties at both FoH and monitors.

WORLD: Following B&C Speakers’ acquisition of Eighteen Sound at the end of last year, Francesco Spapperi, who has been the controller at B&C for more than a decade, has been appointed as CEO of Eighteen Sound. ‘Francesco will help to manage many of the day-to-day ﬁnancial and operational details in Reggio-Emilia, with support from the rest of our management group,’ said B&C Speakers Group CEO, Lorenzo Coppini. ‘He understands our business very

www.martin-audio.com

Stands alone and plays nicely with others

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58 PRO AVL ASIA May–June 2018

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Further South, Vega Global has hired Karri Ahde as country manager for its Vietnamese regional ofﬁce, Vega Vietnam. Tasked with managing the overall operations, Mr Ahde will also be responsible for advancing the company’s business strategy in the region and establishing the brand’s broader goals and objectives. Mr Ahde joins Vega having held senior management positions in manufacturing, beginning with project management and progressing to global sales and business development roles. He also reportedly possesses extensive experience working in South East Asia and a deep understanding of the business landscape in Vietnam.

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Francesco Spapperi well, and will be a strong asset to the Eighteen Sound team.’ www.eighteensound.com

NEWS: APPOINTMENTS

Claude Stephan handed Ross Video Oceania role

Linking People Together

Ross Videoâ&#x20AC;&#x2122;s regional sales manager for Oceania, Claude Stephan OCEANIA: Ross Video has appointed Claude Stephan as regional sales manager for Oceania as the manufacturer looks to further develop its position in the region. Mr Stephan moved to Australia from South Africa. There he gained experience in mechanical drafting as a CNC programmer for Hubco, editing support and sales at Computer Horizons, technical support and presales at Spescom as well as serving as an account manager of broadcast equipment sales at Concilium Technologies â&#x20AC;&#x201C; a partner of Ross Video in Africa. In January 2017, he made the switch to Central Innovation in Australia to become the Sydney-based companyâ&#x20AC;&#x2122;s business consultant. Mr Stephan has worked on a

variety of systems integration projects in the past and is said by Ross Video to have an excellent working knowledge of its range of solutions. â&#x20AC;&#x2DC;Ross Videoâ&#x20AC;&#x2122;s footprint in the Oceania region has grown steadily with the opening of the new ofďŹ ce in Sydney last year, and the addition of dedicated technical support and demo personnel,â&#x20AC;&#x2122; added Amanda Leighton, Ross Videoâ&#x20AC;&#x2122;s director of sales for Oceania. â&#x20AC;&#x2DC;Claudeâ&#x20AC;&#x2122;s appointment is another step forward for us as we cement our commitment to the region and further develop our position as a trusted advisor to the regionâ&#x20AC;&#x2122;s key content creators.â&#x20AC;&#x2122; www.rossvideo.com

Peerless-AV jumps in for Joy INDIA: Justin Joy has been appointed senior sales manager for India and the Middle East at Peerless-AV after making the switch from the companyâ&#x20AC;&#x2122;s distributor, Almoe Digital Solutions. â&#x20AC;&#x2DC;Itâ&#x20AC;&#x2122;s been an easy transition from distributor to manufacturer,â&#x20AC;&#x2122; commented Mr Joy, who has been tasked with managing strategic relationships, and driving new and existing sales opportunities in both India and the Middle East. â&#x20AC;&#x2DC;Peerless-AV has a great team and Iâ&#x20AC;&#x2122;m pleased to be part of a growing, forward-thinking company with a diverse product portfolio that opens doors to new and exciting markets. We have already secured signiďŹ cant new business for indoor kiosks and anticipate strong sales for mounting solutions and outdoor displays throughout the year.â&#x20AC;&#x2122; Indian-born Mr Joy, who speaks six different Indian languages, will join the export sales team at Peerless-AVâ&#x20AC;&#x2122;s new Dubai ofďŹ ce. He has prior knowledge of Peerless-AV products from his time at Almoe and also has A/V and IT technical expertise. Prior to Almoe, he worked in the ďŹ nance sector in India. â&#x20AC;&#x2DC;Justinâ&#x20AC;&#x2122;s

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Mayâ&#x20AC;&#x201C;June 2018 PRO AVL ASIA 59

NEWPRODUCTS

INSTALLATION • A/V • LIVE SOUND • BROADCAST • POSTPRODUCTION • RECORDING • LIGHTING A-ZCONTENTS

PM7 increases Rivage portability By incorporating the DSP into the surface, Yamaha is hoping the new PM7 will make its Rivage family a more portable option YAMAHA IS aiming to increase the portability of its Rivage family of mixers with the launch of the PM7. While sharing the same footprint and panel layout as the PM10’s CS-R10 control surface, the CSD-R7 surface for the PM7 has the DSP built-in in an attempt to make it more mobile. The system itself provides a slightly smaller mixing capacity than the PM10 with 120 input channels, 60 mix busses, 24 matrices and a selection of 48 plug-ins (compared to the PM10’s 144 input channels, 72 mix busses, 36 matrices and 50 plug-ins). It can also be connected to PM10 systems thanks to a Dual Console function. This means a CS-R10-S could be used at FOH or in the wings for monitor mixing duty, or as a sidecar expansion console for the CSD-R7, depending on space and system scale requirements. In terms of networking technology, the PM7 uses Yamaha’s TWINLANe, Dante or both for connection to I/O rack units. The TWINLANe network uses optical cable to handle up to 400 channels of audio. Combinations of the RPio622 and/or RPio222 I/O racks and HY256TL or HY256-TL-SMF audio interface cards allow input via Hybrid Microphone Preampliﬁers with analogue input

stages, as well as digital sections with VCM technology models from a Rupert Neve Designs transformer and SILK processing circuitry. The Dante networking is particularly important due to updates to a pair of the manufacturer’s I/O racks which have been created to support the flagship Rivage series, as well as the manufacturer’s CL, QL and TF consoles. The Rio3224-D2 and Rio1608-D2 are successors to the Rio3224-D and Rio1608-D, offering what the manufacturer describes as ‘significant advances in sound, reliability and visual status confirmation’, while the analogue circuitry has also been revised. Both the Rio3224-D2 and Rio1608-D2 include dual power supply units and internal airflow has also been redesigned, reducing fan noise for quieter operation. Another refinement is the inclusion of character/icon displays rather than the basic LED indicators of the firstgeneration models. This allows for confirmation of Dante settings, as well as metering, gain, high-pass filters and phantom power. It is also possible to edit gain, high-pass filters and phantom power settings directly from the I/O rack interface or from Yamaha’s R Remote software application. The Rio racks can

also be combined with the HY144-D audio interface card. Alongside the launch of the PM7 and the associated Rio racks, the manufacturer has also updated its Rivage firmware. The aforementioned Dual Console function is part of the update, as is DSP Mirroring. This is a PM10-only facility that allows two DSP-R10 DSP engines to be used for failsafe redundancy. If a problem occurs in the main DSP-R10 unit, the second DSP-R10 can take over. Other updates include a Rupert Neve Designs Portico 5045 Primary Source Enhancer and 5.1 surround panning and monitoring. This sees two surround busses available for international feed production. A Mix Minus function is also provided, allowing a specified source to be removed from a specified remote feed with a shortcut. The Version 2 firmware also allows the creation of two TWINLANe ring networks in one system, allowing the use of up to 16 RPio series I/O units, 800 audio channels at 96kHz and 3,000 input connections to the system. There is also a Port-to-Port function that allows bridging between both the TWINLANe rings and additional Dante networks. www.yamahaproaudio.com

Adamson Systems IS7p/IS10p Alcons Audio CRMSC-SRHV Allen & Heath M-Dante Amphion BaseTwo25/Helium410/Helium510/Argon0 Analog Way Picturall series/Ascender 48 – 4K Anolis ArcLine Outdoor DVP/ArcPix/ArcDot Apart Audio Kubo Series/CM series additions API 529 stereo compressor Ashly DigiMix18 Atlona HDVS-210H-TX-WP/HDVS-SC-RX Attero Tech unA6IO/unAX4I/unAX2IO+/unA6IO-BT Audac PMQ series/Cena, Cira and Cali series Audient iD44 Audinate Dante AVIO Audiocenter EA515 Audio-Technica AT-XP5/AT-XP7/AT-PRO5X Audix M62/M65 beyerdynamic Unite/Phonum Biamp Tesira TCM-1/TCM-1A/TCM-1EX/Tesira AMP-450P Blackmagic Design Atem 4 M/E Broadcast Bosch Dicentis interpreter desk/Praesensa Bose ControlSpace Designer 5.0.1 Calrec RP1/Brio12 Celestion CDX series ChamSys MagicQ Stadium Wing Chauvet SP-300CW Chief Impact On-Wall Kiosk/TiLED Series Christie Apex 0.9mm/Velvet CorePlus Cineo Lighting Standard 410 (S410) DAS Audio Vantec-20A/Vantec-118A dBTechnologies Opera Unica/ES1002/Sub 612 DiGiCo 4REA4 DirectOut Montone.42 SMPTE standard ST 2022-7 disguise r15 software DPA Microphones d:sign Dynacord IPX series Ecler eCA120DN/eCA120HZDN/eMIMO1616 Elation Arena Zoom Q7 IP/4Cast DMX Bridge/eNode2 ETC Unison Paradigm 4.0/Unison Echo/Unison Mosaic Fiilex P360 Classic HK Audio Vortis 2 IC audio DL-SE/DL-SQ series IsoAcoustics ISO-130/ISO-155/ISO-200/ISO-200SUB JoeCo Cello K-array Azimut/Capture-KMC20 Kling & Freitag Scena 12/Vida M LD Systems Curv 500 TS Touring Array System LynTec O/R control for NPAC Martin Audio SXF115/O-Line Meyer Ashby series Mipro MR-24 MXL Microphones AC-360-Z/Visual Radio Station/Pop LSM-9 Next-proaudio Matrix Series/Tuned Dipolar Technology Nugen Audio Halo Upmix 3D Immersive /AMB Dolby E Module Outline Newton P.Audio Vita-6A/Vita-6P/Vita-15A and Vita-15P Sub Powersoft Armonía Pro Audio Suite 2.11/ProManager 1.4 Prism Sound Lyra II QSC Visionary Solutions Q-Sys Reflect/TSC-G2 Series/KS112 RCF Evox J8 and JMix8/Z.Core DSP Renkus-Heinz IC8-HD/IC Live X/IC Live XL RME TotalMix Remote/TotalMix FX v1.50 Ross Video OverDrive Express added to Graphite/Ultrix-FR5 Sennheiser EM-XSW 1 Dual Shure Network Audio Encryption Sommer Cable SysTrunk/AOC cables Sonifex AVN range additions Sony Sonic Surf VR/ZRCT-200/TEOS Manage Stage Tec Aurus and Crescendo 4.4.1 TASCAM MZ-Series/DR-10L/TM-10LW/TM-10LB Tasker TP01/TP02/TP10/TP30/TP11/TP20 Telemetrics TG4 tm stagetec systems DIO update TOA Trantec S4.10 Verity Audio Muse P Series Williams Sound Digi-Wave DLT 300 Work Pro PA 200 MX/MD 82 AX MkII WyreStorm H2XC series/EX-35-H2 updates Yamaha Rivage PM7

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1/4 PAGE May–June 2018 PRO AVL ASIA 61

PRODUCTS

DiGiCo is for real DIGICO HAS cited the ‘expanding performance requirements of large entertainment venues, houses of worship, theatres and shared stages at festivals and music venues’ as the driving purpose behind its new 4REA4 installed audio solution. At the heart of the system is the 4REA4 processing engine and 4REA4 control software, which combine to offer routing, processing and mix control. The processing engine rack comprises four dedicated mix zones, each possessing a stereo master output, CGs and allocated effects. With 128 input channels and 48 bus output processing strips, users can allocate processing to zones as required.

The 4REA4 system includes a series of hardware control panels and external I/O units to handle the mixing and routing of each individual zone. These work in conjunction with the processing engine and control software to offer Ethernet connected control. Options include the wallmounted, single-rotary AControl1 with a TFT display for managing small performance areas, the AControl6, featuring six ‘Pushn-Turn’ rotary encoders and 18 soft touch panel keys, and the AControl8, designed for more complex mixing and control with eight 100mm motorised faders. For managing local I/O boxes an extended distance away via Ethernet or Dante, options

Allen & Heath enters the Dante Domain

M-Dante ALLEN & HEATH has added support for Dante Domain Manager (DDM) to its dLive and GLD digital mixing systems via the M-Dante audio networking card, which provides a 64x64 Dante interface. This, the British manufacturer states, widens the consoles’ use in installed applications. New M-Dante cards are DDM-ready, while users with existing cards can make them DDM-compatible by updating to the V4 ﬁrmware available on the Allen & Heath website.

‘Dante Domain Manager is network management software that brings standard IT best practices to A/V,’ explained Joshua Rush from Audinate. ‘It can help ensure audio networks are more secure, while making systems more scalable and controllable. We’re thrilled that forward-thinking companies like Allen & Heath are embracing the system in their products.’ www.allen-heath.com www.audinate.com

DiGiCo’s 4REA4 solution

include the A168 Stage ﬂoor rack and the A164 Wall LCD box, both of which offer mic and linelevel connectivity to reportedly

ensure 96kHz audio is delivered across a venue. The 4REA4 system is completed by the A88 GPIO, a general-purpose I/O

inter face for integrated control of remote third-party hardware such as EVAC alarms and theatre automation systems, and the AStar inter face, which extends the number of expander I/O units that can be connected across a local area running on a single cable, providing four 32x32 connections. ‘4REA4 will allow our customers and new facilities to expand the function and reach of our live consoles today, whilst providing a new installation platform that delivers the highest quality audio and control across multiple per formance areas,’ commented James Gordon, MD of DiGiCo. www.digico.biz

Ashly puts DigiMix in the rack ASHLY AUDIO has made its DigiMix series of digital mixing consoles rack-mountable with the DigiMix 18 by including rack rails with the mixer as standard. Joining the DigiMix 24, the DigiMix 18, which can also be used as a desktop mixer, features 18 inputs and 12 output busses. It also offers optional Dante and USB digital I/O cards with up to 30 digital outputs and 18 digital inputs. While these features are unique to the new member of the family, the DigiMix 18 shares a number of common features with its 24-input sibling. These include 16 Class-A mic pres, eight auxiliary channels, an intelligent meter bridge that displays input level for channels 1 to 16 or the channel volume fader position,

The rack-mountable DigiMix 18 six DCA/Mute groups, a variety of equalisation and dynamics processing options, two effects engines and auto-mixing functionality. Further shared features are the 7-inch LCD

touchscreen interface and single intelligent fader that can be used for any channel. Control is also possible via an iPad app. www.ashly.com

Calrec targets remote and compact productions CALREC IS targeting remote productions and smaller spaces with a pair of releases. RP1 is a remote production unit designed to help engineers mix audio from main studios instead of on location. Meanwhile, the 12-fader Brio12 is the company’s more compact version of its sibling, RP1 Brio36, speciﬁed for smaller production spaces. manages all the processing for Starting with remote production, IFB routing and remote monitor RP1 consists of a 2U core that mixes in an effort to help remote contains integrated FPGA-based mix engineers eradicate delays for DSP, enabling a console surface remote listeners or presenters. 62 PRO AVL ASIAtoMay–June at another facility control all 2018 The RP1 core embeds audio mixing functionality. The RP1 core into existing video-transport

62 62 PRO PRO AVL AVL ASIA ASIA May–June May–June 2018 2018

mechanisms, while its modular I/O backbone accepts any of Calrec’s I/O cards allowing it to connect via analogue, AES, MADI and SDI as well as AoIP solutions such as AES67, Ravenna and Dante. It also provides VCA master control from

the host console and pairing of transmission and remote faders so that any fader/cut changes are applied to both TX and IFB paths on to remote faders and remote auxes. A new ‘blocking’ mode prevents the RP1 unit from affecting the paired transmission faders, while the ‘independent’ mode ensures the RP1 can operate independently of the host when required. At a size of 18 inches wide, Brio12 can be used in very tight spaces like small vans and compact control rooms. It has the same feature set and mix

capabilities as Brio36 and can also be used for small-scale productions, or as a sub-mixer or backup mixer for larger productions. With 12 physical dual-layer faders for mixing live sources during broadcast, Brio12 provides extra virtual faders via its UI. With 48 input channels, the console has capacity for sub-mixes and VCA slaves, making it suited for production environments requiring automated control over every fader. www.calrec.com

PRODUCTS

Bose updates ControlSpace software

BOSE PROFESSIONAL has released a new version of its ControlSpace Designer software for audio conferencing installations and expanded its ToneMatch audio engine series by unveiling a new 8-channel and 4-channel mixer. The new CSD version 5.0.1 – which can be downloaded from pro.bose.com – has a set of new features including tools and algorithms, allowing designers to conﬁgure both audio processing and network operation of Bose ControlSpace processors, endpoints and PowerMatch ampliﬁers. In terms of support for the ControlSpace EX-1280C conferencing processor – which includes new DSP blocks – the

new functionalities include Acoustic Echo Canceller, VoIP, PSTN/POTS, USB, Conference Room Router, Room Combine Group, Enhanced AGC, linkable gated and gain-sharing automixers, simpliﬁed logic control and AmpLink. There is also support for ControlSpace EX-UH, EX-4ML and EX-8ML under-table Dante endpoints. For the Panaray MSA12X modular steerable array loudspeaker, the new version includes a MSA12X device block, MSA12X control panel and basic steer/spread beam steering directly from within the software. Support for various Danteenabled products include Shure MXA910 and MXA310 microphones, Audio-Technica

Stage Tec doesn’t bypass rehearsals ATND971 and ATND8677 microphones, and AudioTechnica’s ATND8734 microphone power module with Dante output. Meanwhile, Bose Professional has also introduced the 8-channel T8S ToneMatch mixer and 4-channel T4S ToneMatch as the next generation of its ToneMatch audio engine line. Each T8S channel has dedicated ToneMatch, EQ, dynamics and effects which include compressor, limiter, de-esser, noise gate, chorus, ﬂanger, phaser, tremolo, delay and reverb functions. Tap tempo delay and a chromatic tuner are built-in. Aux send 1 has a dedicated reverb of its own, while a master output EQ helps compensate for venue acoustics. The 4-channel T4S offers most of the same features as the T8S but with some differences. They are an aux send count of two, and outputs to either ¼-inch TRS balanced stereo or dual ToneMatch links, designed to send digital audio to L1 Model 1S/II systems while receiving power on the same ToneMatch cable. The ﬁnal difference between the mixers is the T8S’ exclusive output meter. www.bose.com

IT IS now possible to activate a bypass function for each individual aux VCA in all Aurus and Crescendo systems following Stage Tec’s version 4.5 software release. The German manufacturer claims that this feature is exclusive to its consoles and was developed

the ITU-R 775-3-compliant automatic stereo downmix with level correction is now available to Aurus and Crescendo. Meanwhile, the internal tone generator can be accessed in the centre section of each console, making it possible to conﬁgure the mixing console

in response to demand for rehearsals with live event and sound reinforcement feeds. Other new features introduced in software release 4.5 include VCA group hierarchy, which allows channels to be assigned to multiple VCA groups and for setting additional groupings. Up to 30 VCA groups can be chosen from. When routing 5.1 sources to stereo groups,

even if a Nexus audio network is not yet connected. Finally, an M/S decoder is automatically available on input channels on all Stage Tec mixing consoles. An integrated upmix process enables decoded M/S signals or stereo signals to be mixed automatically to multichannel busses.

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64 PRO AVL ASIA May–June 2018

www.stagetec.com

PRODUCTS

TASCAM racks up analogue mixing TASCAM HAS created the MZSeries of rack-mount analogue mixers for install applications in small-to-mid-sized venues, such as hotels, restaurants and schools. The series launches with two models: the 2U MZ-223 and the 3U MZ-372. The MZ-223 provides ﬁve audio channels that each possess a dedicated gain potentiometer and two stereo sets of RCA line-level inputs, which can be mixed, segregated and routed to three independent zones. There is a total of 10 RCA inputs. Channels 1 and 2 can also accommodate phono-level signals for use with a turntable. Meanwhile, a pair of front-panel, balanced XLR inputs handle microphone signals alongside a ¼-inch stereo headphone output with level control. A trio of stereo output zones deliver balanced XLR and unbalanced RCA line-level outputs and a slider switches the RCA outputs between 0.75V and 1.5V. Stereo unbalanced RCA master record outputs also feature on the MZ-223. Audio signals can be mixed, muted and routed to two

redundant outputs or destinations using the larger MZ-372. Its six audio channels have individual volume control and a pair of stereo sets of unbalanced RCA line-level inputs for a total of 12 RCA inputs, as well as six balanced, switchable XLR mic/ line inputs on the rear panel and a mic-level XLR input on the front. Channels 1, 2 and 3 can be switched to facilitate phonolevel signals. A pair of unbalanced RCA Booth outputs offer an

Tasker stays connected AIMED AT providing shielding for high-frequency applications, Tasker’s latest range of connectors and panel adapters has been developed for different installations such as recording/broadcast studios, mixer consoles and control rooms.

TASCAM’s MZ-223 additional feed with independent control for monitoring and can be switched between stereo and mono modes. The MZ-372’s dual outputs all have balanced XLR and unbalanced RCA jacks. In other TASCAM news, the DR-

10L ultra-compact digital recorder and lavalier microphone is now available in white. The DR-10LW is described by the Japanese manufacturer as ‘a perfect solution for location-recording applications such as wedding videography,

where its small size and unique white ﬁnish ensure that it won’t detract from the bride as she walks down the aisle’. In addition, the TM10LB (black) and TM-10LW (white) microphones have been released as spare microphones for use in emergencies. They are equipped with Sennheisertype connectors, making them compatible with a wide range of third-party equipment. www.tascam.com

... yet easy system setup helps you start the meeting on time.

3/4 PAGE S4.10 and S4.04 Series Wireless System

TP01 Produced with gold-plated contacts and a metallic ﬂange with standard locking passages, the range includes USB A to USB B, designated TP01 and TP02, BNC female to BNC female, named TP10 and HDMI to HDMI which is called TP30. In addition to this is a BNC female (TP11) and RCA female (TP20) which are available in different colours.

No matter whether it’s for vocals, speech or instrument applications, you will have these systems up and running in no time and absolutely worry-free. There is no easier way to create a multi-channel wireless system than with the S4.10. The S4.10 is a multi-channel-capable wireless system, which allows you to master a wide variety of challenges with up to 10 simultaneous channels. Our entry level system, the S4.04 is prefectly adequate for most small to medium applications with 4 switchable frequencies. ** Models available may vary across different regions.

We supply sound, not equipment. www.toa.com.sg www.toa-seoul.com

TOAasiapacific

www.tasker.it

May–June 2018 PRO AVL ASIA 65

PRODUCTS

RenkusHeinz moves up a gear

LD Systems goes on tour LD SYSTEMS has increased the speciﬁcations of its Cur v 500 series with the release of the Cur v 500 TS Touring Array System. Designed for applications that require a par ticularly high sound pressure and broad, wide-ranging dispersion, the Cur v 500 TS offers the same scalability and compactness as its Cur v 500 siblings. However, the Cur v 500 TS has a narrower ver tical dispersion of 30° to ensure the sound has sufﬁcient pressure and dynamics to be able to reach rear sections of the audience. Unlike regular satellites with 10° coverage, the duplex satellite has a dispersion angle of 5°. It is equipped with four interlocked

array satellites in a unibody design with two duplex satellites fitted with two speakers each (two 4-inch mid-range speakers and six 1-inch tweeters). The satellites are powered via the company’s Smar tLink adapter, which can be used as a base unit for wireless operation of up to four satellites, and all the arrays are fitted with WaveAhead technology. The base of the Curv 500 TS is a 15-inch bass-reflex subwoofer with a peak output of 1,400W, including a Class-D amplifier and DSP unit. The latter gives users a total of six DSP presets. The subwoofer also features a multiband limiter as well as a range of functions that

Connections and controls on the integrated mixer protect against short-circuiting, overheating and overvoltage. XLR and Neutrik speakON compatible sockets are available, while a Neutrik powerCON socket reportedly ensures a stable mains power supply. The LD Systems Curv 500 TS Touring Array System

EXPANDING ON its Iconyx steerable arrays line, RenkusHeinz’ IC8-HD offers the highest deﬁnition of all products in its range, while both the IC Live X and IC Live XL deliver even higher SPLs than their predecessor, IC Live. All three models offer the company’s beam steering technology.

www.ld-systems.com

Vita passes the Beta test FOLLOWING IN the footsteps of last year’s successful Via launch, P.Audio has created a new line array system with flexible integrated rigging designed for ease of set up. Operating within a frequency range of 90Hz to 20kHz (–3dB), the Vita-6A combines dual 6-inch woofers with two HF drivers and two waveguides with 90° horizontal dispersion. In addition, the 12.6kg cabinet is equipped with an asymmetrical power supply delivering 380W continuous power to the HF and LF sections together with built-in DSP including five factory presets. Housed in 15mm tour grade plywood and finished in a durable polyuria coating, the rigging

Vita-15 Sub features powder-coated structural steel. The Vita-6A incorporates rear and lateral handles, while an optional pole mount can be added to provide further ﬂexibility.

A passive version is also available in the form of the Vita-6P, providing flat frequency response with a cross frequency of 2kHz, featuring a third-order high-pass filter for high frequency. If more control and DSP are required, the switch may be used in biamp configuration, allowing the LF and HF sections to be driven from separate amplifiers, without passing the passive crossover. Capable of extending the LFs down to 40Hz (–3dB), two specifically engineered subwoofers have been created

for use with both Vita-6 systems. A 15-inch P.Audio GM15-100F transducer with a large format 4-inch voice coil has been integrated into both the Vita-15A and Vita-15-P Sub models. An electronics section featuring a 500W RMS Class-D ampliﬁer together with DSP including ﬁve presets marks the difference between the models. Designed to be as simple as possible, the rigging features a separate pin at its rear to set its angle. The 39.5kg plywood cabinet comes with two handles and an M20 threaded pole mount. www.paudiothailand.com

K&F bolsters speaker catalogue KLING & FREITAG is targeting live events with a pair of additions to its speaker catalogue. With the aim of creating the neutral reproduction of live audio through its monitor speakers as well as low feedback tendency, K&F’s Scena 12 has been optimised for

operation as a stage monitor in live mode and for assignments within television studios. The system setup for the monitor’s compact dimensions is achieved using the K&F SystemAmps. Using an integrated switch (allocation switching from 1+/1– to 2+/2–), two monitor paths can be set up with just one NL4 cable. On a SystemAmp (PLM+, D-series), up to four monitor paths can be operated with three Scena 12 loudspeakers each. The polyurea coating, external grille and rubber feet offer protection against mechanical impact, particularly during tours. Flexible use is supported by the optional

speaker stand ﬂange. Elsewhere, Vida M is the latest addition to the German manufacturer’s Vida line array family. The system has been designed for both ﬁxed and mobile applications at theatres, auditoria and corporate events. It features real-time beam steering that offers – apart from sidelobe free beam steering – individual control of each driver and has been optimised for speech. The IP54-rated speaker also offers both horizontal and vertical dispersion thanks to its BEMoptimised Vida waveguide. As with all other Vida systems, control is available via the Vida app. Ranging in four available

The Vida M sizes between 1.1m and 4.4m, Vida M comes with split beam capability, three different inputs by standard (Dante/ AES/analogue) and a GPIO inter face. Its mounting bracket is described by the company as being able to fit all sizes.

IC8-HD

The IC8-HD performs beam steering by using 32 discrete amplifier/DSP channels to control its 24 high-frequency drivers and eight 4-inch low-mid woofers. It is compatible with all Iconyx Gen5 modules and reportedly enhances the low-frequency response. The IC Live X features two 8-inch woofers and six 1-inch highfrequency compression drivers that are individually controlled and amplified. Its compact cabinet can be mounted on a tripod stand, pole-mounted above a subwoofer or installed in tall, continuous arrays. Presets allow for pointsource use, with softwareadjustable vertical coverage angles. Going up in scale, the IC Live X can be combined with IC Live XL – which employs four 8-inch woofers – to maximise scalability and flexibility. An unlimited number of arrays can be used for mobile or fixed installations.

www.kling-freitag.com www.renkus-heinz.com

66 PRO AVL ASIA May–June 2018

There is nothing else on the market that comes anywhere close Hugh Robjohns â&#x20AC;&#x201C; Sound On Sound

genelec.com/theones

PRODUCTS

Low frequencies flying high MARTIN AUDIO has designed the SXF115 passive subwoofer as a companion for its new Wavefront Precision Mini (WPM) line array. The new, 15-inch subwoofer reportedly extends frequency performance down to 42Hz, is capable of achieving 136dB at 1m and can be flown as part of an array or ground stacked separately. A 4-inch voice coil driver resides within the SXF115’s compact, multi-laminate birch ply enclosure, which is finished with a polyurethane coat and equipped with perforated steel grille, skids and twin bar handles. The system is built to minimise power compression and distortion, while four reflex ports reduce air noise at high output levels. An M20 threaded fitting on the top of the enclosure facilitates the pole-mounting of up to four WPM or MLA Mini enclosures. In other news, the introduction of a scalable resolution together with a software update

means Martin Audio’s micro line array, O-Line, now offers additional coverage consistency and control. When combined with an iKON iK81 8-channel ampliﬁer with onboard DSP to

The SXF115 independently control and power each individual enclosure, O-Line will also increase the ability to limit the inﬂuence of the room by accessing Martin Audio’s Display software functionality. The ‘hard avoid’ capability and electronically adjustable coverage are designed for complex acoustic spaces. In some

applications, O-Line can be driven using only one ampliﬁer channel with a simple EQ. Additionally, the combination of both mechanical and DSP optimisation has been designed to assist in installations where height restrictions can be a factor. Display, along with VU-NET control, is also said by Martin Audio to provide a level of coverage change when installations at venues need to be de-rigged and re-rigged by using its different presets. The O-Line array reportedly does not produce vertical sidelobes in the audio band while its ability to still reproduce high frequencies makes it possible for both full-range speech and music reproduction in reverberant spaces. Martin Audio states that an array of 16 cabinets is capable of hitting a sound level of 134dB peak at a distance of up to 40m. www.martin-audio.com

ISO Series

Modernised monitoring PRO AUDIO monitors and subwoofers are the target for the newest line of isolation stands from IsoAcoustics. The four new models that make up the ISO Series – ISO-130, ISO-155, ISO-200 and the ISO-200SUB – all feature a new design that the company describes as ‘contemporary’, in addition to the acoustic isolation per formance that the company has become known for. The manufacturer states that the ISO Series is a modernised line that builds on the success of its L8R Series. The models offer 14 variations of height and tilt to aid speaker

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placement. The ISO-130 has been designed for small- and medium-sized monitors up to 9kg. The ISO-155 stand for medium- to larger-sized speakers and studio monitors is designed to support up to 18kg. For larger speakers and studio monitors, the ISO-200 supports up to 27.2kg, while the ISO-200SUB is rated to support subwoofers up to 34kg. They all feature a low-proﬁle design that reportedly enables speakers to have a low stance (atop a meter bridge, for example) while enhancing performance. www.isoacoustics.com

PRODUCTS V-Net networking solutions, Ethernet/TCP/IP as well as ﬁxed IP or DHCP for remote monitoring and control with LCD screen displays and RJ-45 connectors. The cabinet itself is constructed from 15mm birch multi-layer plywood from CNC routing with a black matte waterbased ﬁnish and can be adapted to horizontal and vertical installations.

Muse inspiration for Verity Audio DEVELOPED WITH smaller events in mind, Verity Audio has introduced the Muse P Series. Ranging in size from 8-inch to 15inch versions, the multi-functional active 2-way full range speakers

– Muse 08P, Muse 10P, Muse 12P and Muse 15P – have a rotatable 90° x 50° horn, built-in crossover, microphone and line multi-function input modes and volume control. The family are compatible with

Audiocenter builds on EA5 series

Celestion heads back to neodymium for CDX THE LATEST compression driver from Celestion utilises a singlepiece pure titanium diaphragm and surround together with a compact lightweight magnet assembly to deliver what the company describes as ‘superior highfrequency performance’. Switching to neodymium, it’s the third large format compression driver developed by the manufacturer to incorporate a 3-inch single-piece titanium diaphragm and surround, following the introduction of two ferrite magnet drivers, the 1.4-inch exit CDX14-3030 and 2-inch exit CDX20-3020.

The CDX series CDX143040 model is a 1.4-inch exit, 3-inch voice coil neodymium magnet compression driver that features an edgewound coil copper clad aluminium voice coil. It delivers 75Wrms power handling and a sensitivity of 106.5dB from 500Hz to 20kHz, with a recommended minimum crossover frequency of 1kHz (at 12 dB/octave). The driver offers a weight saving over the ferrite models thanks to the use of neodymium, weighing in at a modest 1.4kg

www.verityaudio.com

Muse 10P

The CDX14-3040

at a diameter of 135mm (5.3 inches). www.celestion.com

AUDIOCENTER HAS added the EA515 to its EA5 series of portable loudspeaker cabinets. The EA515 boasts the ability to be installed either vertically or horizontally by steel wire or U Bracket, while sonically it boasts an SPL of 136dB from its customised Audiocenter LF ferrite and Beyma HF ferrite drivers. Connectivity includes two combo inputs (2-way XLR and mono jack). CH A input can be switched between line input or microphone input. Besides this, there is an RCA port for other sound sources such as MP3 players and CD players. The three different audio sources can be output in parallel with 1-way

XRL after internal mixing, and then distributed to different speakers. The cabinet itself measures 446mm x 700mm x 440mm and weighs 29.5kg. It can be customised in any RAL code colour. www.audiocenter.com

Video Over IP Solu ons

May–June 2018 PRO AVL ASIA 69

PRODUCTS

RCF adds J Series to Evox

The Evox JMix8 from RCF RCF’S EVOX line of portable PA systems has been expanded with the Evox J Series, which adds an 8-channel digital mixer to the fray with the JMix8 and features a line source satellite module that comprises eight 2-inch full-range drivers paired with a 12-inch woofer in a bass-reﬂex enclosure. The two models in the Evox J Series, the J8 and JMix8,

both feature a smaller footprint than the original Evox models and are in portable enclosures, with the only difference being the addition of the integrated mixer. The manufacturer states that the systems are ideal for live entertainment, DJs, parties, club music and corporate events as the Evox design features constant directivity coverage stated to

be 120° x 30° (HxV), while the vertical array is progressively shaped to provide consistent sound coverage from the front to the back. The onboard 8-input mixer in the JMix8 makes use of Z.Cord DSP also found in the manufacturer’s M Series digital mixers to provide a host of mix functions as well as instrument effects and amp simulations, and a companion iOS/Android app also allows users to manage the system remotely. Connections include four combo mic/line inputs, four line inputs, including a Hi-Z input, and a switchable analogue stereo-in/Bluetooth digital audio receiver. The integrated DSP manages full loudspeaker processing, FiRPHASE filters, crossover and EQ, soft limiter and dynamic bass boost. Power comes from an internal 1,400W Class-D amplifier, and the mechanical aluminium structure of the amplifier also works to strengthen the unit during transportation and provides fanless heat dissipation. www.rcf.it

Enter the Matrix NEXT-PROAUDIO HAS unveiled the Matrix Series of passive column arrays aimed at installed and small, portable applications. With a chassis of aluminium and wood, the cabinets are described as ‘stylish and yet sturdy’ and designed for architectural integration. The Matrix Series initially comprises two models: the Matrix M8 and the Matrix M3, which house eight and three 3-inch neodymium transducers, respectively. Built to offer a ‘high intelligibility at high SPL’ and ‘wider frequency response while providing constant beam-width over a user selectable vertical coverage’, the Matrix columns provide beam control that reportedly extends up to 10kHz. In addition, the manufacturer has developed what it coins as ‘Tuned Dipolar Technology’, which promises ‘consistent low-frequency pattern control’. This can be used to reduce the stimulation of resonant room modes at low-frequencies. Users are able to choose between Music and Vocal modes at the ﬂick of a switch. Music mode is intended to give a ﬂat, balanced frequency response, while Vocal mode adds

The Matrix M8 and Matrix M3 a mid-range presence to enhance speech intelligibility. Another choice presented to users is the ability to switch the vertical dispersion pattern between wide or narrow coverage. The internal processing board handles array optimisation, allowing users to adjust the system behaviour to meet application requirements. Adding to the ease of set up is the 16mm cavity in the back of the cabinet, which conceals wiring, even when the speaker is mounted ﬂat against a wall in architectural integrated installations, while a removable input screw connector simpliﬁes the wiring process. www.next-proaudio.com

IS-Series gets to the point Outline gets clever with Newton ADAMSON SYSTEMS Engineering has added a pair of point source speakers to its IS-Series of install-focused loudspeakers. The IS7p and IS10p in many ways replicate the series’ IS7 and IS10 line array cabinets. However, both are 2-way point source cabinets with newly designed rotatable waveguides that are available with nominal dispersion patterns of 70° x 40° or 100° x 50°. These have been designed to provide a smooth transition from on- to off-axis positions and a ‘natural sound’ without diffraction or lobing. The fullrange capabilities of the IS7p and IS10p can negate the need for a subwoofer in certain applications.

The IS7p features two 161, ND7-LM16 7-inch Kevlar low-mid drivers and an NH3-8 1.4-inch, 81 exit compression driver. The IS10p contains the same exit compression driver and a pair of ND10-LM 161, 10-inch Kevlar low-mid drivers. The drivers are housed within cabinets made from marine-grade birch plywood and aircraft-grade aluminium and steel. SpeakON NL4 connectors are equipped as standard, while barrier strips are ﬁtted on the alternative IS7pb and IS10pb models. The plate-and-screw rigging system present on four faces of the enclosure adds ﬂexibility for installation. www.adamsonsystems.com

The IS10p and IS7p

70 PRO AVL ASIA May–June 2018

Outline’s Newton 16+8

OUTLINE HAS designed its new multi-function centralised loudspeaker processing and control system to be revolutionary and, as such, has named it after one of history’s greatest minds. Newton is described by the Italian manufacturer as an FPGA-based processing platform designed to be the management and control core for audio networks in touring, broadcast and ﬁxed installation applications by providing loudspeaker system control, facilitating media conversion, sync and clock management and audio distribution. Newton’s I/O conﬁguration will provide 216 channels in both directions simultaneously using

a fully automatic clock source and audio signal switchover facilities. The system and setup are controllable via Outline’s Dashboard software for macOS. There are three hardware versions – Newton 16, Newton 16+4 and Newton 16+8 – to suit the requirements of differing projects. All processed signals and direct outputs can be routed out of Newton using Dante (AES67-compliant), AES3, MADI Optical and MADI Coaxial. Internal processing is 96kHz, with an internal data depth up to 64 bits. In each processing section users have control over Level, Delay, Polarity and Raised Cosine Filters (implemented

within WFIR Equalisers). While Newton 16 is an alldigital device, Newton 16+4 and Newton 16+8 add local analogue inputs and outputs: Newton 16+4 adds four auxiliary analogue I/Os while Newton 16+8 adds eight auxiliary analogue I/Os. Each analogue input is also provided with additional processing and matrix allowing inputs to be processed, routed and mixed into the main matrix. All three versions of Newton share the same motherboard and it is possible to upgrade from Newton 16 to Newton 16+4 or Newton 16+8. www.outline.it

QUICKSMART MOBILE

Available on Android and iOS

ELX200 Portable Loudspeakers

Professional audio quality, precision control and robust, EV-engineered components in an ultralightweight package. QuickSmart DSP via EVâ&#x20AC;&#x2122;s signature single-knob user interface with LCD Patented SST waveguide design for enhanced acoustics in a compact package Wireless control and monitoring via QuickSmart Mobile Perfect for both portable and installed applications Lightweight package with heavyweight performance

electrovoice.com/elx200

DOES MORE WEIGHS LESS

PRODUCTS

Vantec family grows Alcons’ reference for immersive surround THE CRMSC-SRHV reference surround from Alcons Audio is designed to ‘meet all requirements of current and future immersive surround sound formats for studios, screening rooms and high-end residential cinemas’. It is a 2-way, passive-ﬁltered, fullrange loudspeaker featuring the manufacturer’s patented pro-ribbon driver technology and built to serve as a matching (height layer) surround system for CRMSs (Cinema Reference Monitor Systems) with identical MHF components.

DAS AUDIO’S Vantec Series of portable loudspeaker solutions has expanded with the addition of the Vantec-20A active curved source line array and its companion, the Vantec-118A powered subwoofer. The Vantec-20A is designed for use in arrays of up to five cabinets and specifically for applications that don’t require the long-throw characteristics or power of large line arrays, such as corporate A/V, mid-sized sound reinforcement and permanent installations. As well as being flown in an array or stacked on the Vantec-118A subwoofer via the included Click-Lock rigging hardware, the Vantec-20A can also be deployed as a standalone unit on a speaker stand or tripod with a variable angle pole mount that facilitates an up or down tilt of up to 13.5°. To further simplify set up in arrays or to align with Vantec-18A and Vantec-118A subwoofers, Vantec-20A includes the DasControl interface, negating the need for external processing. Accessed by an LCD screen on the

rear of the enclosure, DasControl facilitates the selection of presets for array size and HF compensation for throw distances. Alternatively, when the Vantec-20A is used by itself, the DasLink app can be used to stream music and remotely monitor and control the system. The Vantec-20A also features FIR filters for linear phase response and precise impulse response. Power comes from a 1,500W-peak Class-D amplifier in a biamplified

Vantec-20A conﬁguration, which drives a DAS12F4C loudspeaker and twin M-60 compression drivers.

The Vantec-118A companion subwoofer

As for the companion subwoofer, the Vantec-118A is an active front-loaded bass system that can be flown in arrays or linked together ground stacked. It also houses a 2,000W-peak Class-D amplifier as well as 24-bit DSP. A ‘Deep-Loud’ EQ switch facilitates the tailoring of the bass output to provide a low, subwoofer-type response via the ‘Deep’ setting or to achieve a ‘louder per formance’ when in ‘Loud’ mode. Controls are found on the rear panel for gain, polarity and a continually variable low-pass filter that ranges from 80Hz to 125Hz. www.dasaudio.com

Meyer puts IntelligentDC in the ceiling MEYER SOUND’S Ashby family has become the first ceiling speakers to use the manufacturer’s IntelligentDC technology. IntelligentDC receives balanced audio and DC power from a single composite cable and connector. The 2-member Ashby family joins five full-range speakers and two subs in using the technology. The two flush-mount models are the Ashby-5C with a 5-inch low-mid cone driver and the Ashby8C with an 8-inch low-mid driver. Both employ a concentric ¾-inch

The CRMSC-SRHV The system is formed from an RBN202 pro-ribbon driver for HF reproduction and has a vented 6.5-inch mid-bass for LF. The HF section has a peak power input of 500W, which the Dutch manufacturer states enables ‘a 1:16 dynamic range with up to 90% less distortion from 1kHz to beyond 20kHz’. The CRMSC-SRHV offers 90° horizontal and 60° vertical dispersion. Alcons also promises that ‘the system has a linear response at any SPL’ due to the ‘compressionless’ principle of its pro-ribbon transducer. The RBN waveguide can revolve and, along with the trapezoidal enclosure, provides low-proﬁle wall or ceiling mounting options. An optional grill and ACO colour choices allow aesthetic customisation. www.alconsaudio.com

metal dome tweeter and are housed in integral, quick-mount metal backcans with Phoenix connectors. The dual-driver concentric design provides a 100° dispersion pattern. As with other IntelligentDC models, Ashby loudspeakers connect to a remote MPS-488HP rack-mount unit that supplies both balanced audio signal and 48V DC power for the ampliﬁer. Connections are made using a single 5-conductor cable with termination on 5-pin Phoenix

connectors. The manufacturer states that ‘cable lengths of up to 127m are accommodated with

no more than 1dB loss using 18 AWG wire’, adding that longer runs are possible using heavier gauges. The speakers can be used with the manufacturer’s Constellation acoustic system, while remote monitoring of individual loudspeaker status on a Windows or Mac computer is available with the addition of the optional RMS module, RMServer and Compass software. www.meyersound.com

Kubo blends in

The Kubo family APART AUDIO states that its new Kubo Series of loudspeakers is the result of the increasing market demand for ‘stylish and more subtle design audio products’. The series is formed from four models: the full-range Kubo3 and

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Kubo3T, each with a 3-inch woofer, and the Kubo5 and Kubo5T 2-way cabinets, which house 5.25-inch woofers. The Kubo3 and Kubo3T both offer 40W of power and measure 125mm high x 131mm wide x

109mm deep. The 5 and 5T models measure 155mm x 164mm x 136mm and boast 80W of power. The Kubo3 and Kubo5 have an impedance of 81, while their ‘T’ counterparts are 161 versions. The T models also feature a rotatable 70/100V power-tapping selector. All four models have been designed for easy installation with ‘installer-friendly’ end caps held in place by 14 integrated neodymium magnets and an ‘in & link’ connection with euroblock connectors for daisy-chaining

multiple units. With a 140° vertical or horizontal installation angle, Kubo speakers can be hung close to walls and ceilings. Apart Audio has also added to its CM range of ceiling loudspeakers. The new models include a sealed back can and bass-reﬂex port to offer a ‘controlled sound performance in any kind of ceiling structure’. They have been tuned to optimise bass and midrange and maintain sonic consistency, as well as to be matched with other models in the series. www.apart-audio.com

PRODUCTS

Amphion flies the flag at BaseTwo25 AMPHION LOUDSPEAKERS is touting the BaseTwo25 as its new flagship low-frequency extension system. The turnkey system is designed to transform the manufacturer’s 2-way studio monitors into a full-range, time and phase accurate, 3-way tower, extending down to 10Hz corner frequency (–3dB). The BaseTwo25 towers feature 10-inch woofers and 10-inch passive radiators mounted on each side of the enclosure, which measures 1,020mm x 191mm x 355mm. A pair of 900W outboard monoblock amplifiers power the system, while a filtering module with variable volume control manages the settings. In addition to adding low frequencies below a single fixed frequency point, BaseTwo25 reportedly increases the coupled monitor’s midrange power-handling capabilities by transferring low-end frequencies, as the system’s filter module transfers energy from the mains

HK Audio adds certification

Amphion’s BaseTwo25 to the Base towers at 400Hz (–36dB), utilising a third-order ﬁlter to increase the energy exchange until an equally shared transfer is achieved at 100Hz or below. BaseTwo25 can also be used on its own by way of its bypass switch. Elsewhere, Amphion has redesigned the cabinets of

its Helium410, Helium510, Argon0 and Argon1 bookshelf loudspeakers. The smallest Helium and Argon models include a repositioned reﬂex tube, now found behind the woofer, while the Helium410 and Helium510 employ a new tweeter. www.amphion.ﬁ

THE FIRST HK Audio EN 54-24-certiﬁed install speakers have arrived on the market. Developed in collaboration with Gräf & Meyer, a company specialising in evacuation systems, Vortis 2 from HK Audio can serve the dual purpose of sound reinforcement and EVAC. The speakers reportedly deliver high sound pressure levels and provide the variable directivity needed to satisfy the statutory standards for speech intelligibility, even in challenging acoustic environments. ‘Things soon get complicated in a lot of projects where the

requirements for harmonised safety standards, sound reinforcement technology and system integration converge,’ explained Fabian Reimann, HK Audio’s application support engineer and product manager, installation. ‘Working with our electronics partner, Gräf & Meyer, we want to provide the support technical planners, building services engineers, architects and systems integrators need to successfully execute even very complex projects.’ www.hkaudio.com

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Experience the Future www.codaaudio.com

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PRODUCTS

Opera goes on the network DBTECHNOLOGIES HAS put networking at the heart of the latest additions to its Opera family of powered 2-way speakers. The Opera Unica series offers networkable capability via Aurora Net control software using the integrated RDNet ports. This allows for a complete EQ, delay and processing customisation and real-time monitoring of the PA system in use. Away from the networking functionality, the 12-inch and 15inch members of the Opera Unica feature a Class-D Digipro G3 amp module capable of delivering up to 1,800W peak. The cabinets also offer neodymium woofers, an asymmetrical acoustic design of the HF horn and linear-phase FIR ﬁlters. The speakers also offer Powercon In/Link connectors and have a stated SPL value of up to 133dB. Sharing the same Digipro G3 amp module, the Italian manufacturer has also expanded its ES family

ES1002

with the ES1002 biamped active PA system. Aimed at musicians and DJs, the ES1002 comes with a subwoofer and one column top, both powered by the Class-D amp. The top satellite is equipped with eight 4-inch mid-hi woofers that have been aligned to deliver an asymmetrical vertical coverage pattern. Each midrange woofer also features a newly designed phase-plug to widen the horizontal coverage. The sub features two 12-inch woofers in bass-reﬂex conﬁguration. It is also home to the amp module and the control panel. The I/O section allows users to connect up to two inputs (XLR mono and RCA stereo with independent volume controls) and provides a balanced link out to feed a second system or a stage monitor. A rotary controller with eight EQ presets helps users to tune the system. Finally, dBTechnologies has also expanded its low-frequency

12-inch and 15-inch Opera Unica speakers offerings by completing the Sub 600 family. Designed to work with the manufacturer’s smaller full-range systems, such as Opera 10 and B-H 8 and 10, Sub 612 weighs in at 19.8kg. The unit features a 600W RMS Class-D ampliﬁer with SMPS and can deliver sound pressure levels up to 129dB.

Controls on the amp panel allow users to operate with a mono or stereo audio feed, activate polarity inversion and choose output link mode (True Bypass or X-Over). The wooden cabinet also offers Sub Boost Mode switch EQ setting to enhance low-end frequencies. www.dbtechnologies.com

Discretion key for K-array K-ARRAY’S AZIMUT miniature audio solution and CaptureKMC20 microphone aim to offer discreet use in various places ranging from conference halls and houses of worship to restaurants and museums. The Azimut package is comprised of two 10cm-long Lyzard loudspeakers, a RumbleKU44-2 subwoofer, a KommanderKA02 ampliﬁer, a covert remote control and was developed with the end user in mind. The midhigh speakers feature four ½-inch neodymium transducers to form ultra-micro line arrays. The system’s two Lyzards are for horizontal coverage, while there is also an option to expand those loudspeakers up to six

should more coverage and power be needed. At only 10cm deep, the Rumble-KU44-2 subwoofer can be integrated in its surroundings, including furniture and walls. The system is also equipped with a wired remote control that allows volume control, Bluetooth management and the option to manage playlists. A LAN network can be installed to control multiple rooms equipped with Azimut. The Kommander-KA02 features analogue inputs and ﬁbre optic input as well as plug-andplay capabilities with Bluetooth connectivity, USB ports and mini-jack input. Online streaming songs are available via the Azimut app which also has control for all

The Capture-KMC20 microphone

the ampliﬁer functions. According to the Italian manufacturer, the system can be deployed ‘in tough weather conditions’.

Meanwhile, the Capture-KMC20 is made up of eight 4mm cardioid capsules aligned in a line array conﬁguration and is described by

K-array as being the smallest line array microphone on the market featuring Pure Array Technology. With a thickness of 6mm, the microphone aims to offer discretion for a variety of applications in conference halls, board rooms, houses of worship and TV studios. It is also said to have minimal variation of gain with distance and the capability to reduce noise behind the speaker when mounted both horizontally and vertically. Its frame is shaped from a 6mm x 6mm solid square brass bar using a milling cutter with bits less than 2mm in radius. www.k-array.com

beyerdynamic interacts on tour BEYERDYNAMIC HAS focused on communications systems with a pair of releases: a tour guide system named Unite; and Phonum, an audio solution for meetings. One of the standout features for Unite is a special talkback function that will allow visitors on guided tours to speak into the system to ask questions and interact with tour guides or even other guests. Up to three people can speak at any one time. Other components of Unite include DSP

74 PRO AVL ASIA May–June 2018

control for speech intelligibility, which the company claims cancels out unwanted noise and allows an optimised frequency curve courtesy of its Automatic Level Control. Unite is also said to be suitable for both smaller setups as well as large systems (over 32 groups) and can be used almost anywhere as it is DECT-certiﬁed. A bodypack transmitter together with a neckworn microphone or headset allows the speaker to operate hands-free.

The Unite system can also connect to other audio sources such as music players or preproduced speech recordings via analogue sources, USB or even Bluetooth. Phonum, meanwhile, has been described by the company as a mobile, cable-free communications system for teleconferences, huddlerooms and for smaller meeting requirements. It uses a downﬁre loudspeaker for sound reproduction and beyerdynamic’s

Voice Compass technology which reportedly captures all spoken words and eliminates echo sound or background noise. A compact, portable, batteryoperated speakerphone, Phonum allows any room to become a meeting room. It can be connected to smartphones, tablets or computers via Bluetooth and can also connect using USB. Its rechargeable battery offers up to 15 hours of speaking time. www.beyerdynamic.com

The Unite tour guide system

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PRODUCTS

Better safe than sorry BASED ON a security system already adopted by many firms and organisations, the Shure Network Audio Encryption aims to better protect Shure products against breaches. The latest encryption by Shure seeks to safeguard confidential content without compromising audio quality. The technology is based on the AES-256 algorithm that has been widely adopted by leading financial institutions, government agencies and healthcare providers where data breaches are a risk. The company claims that it is the first time that security has been designated to protect networked audio signals. The encryption uses a userconfigured pass phrase on

each Shure device, of which the audio will only be heard with the correct pass phrase. When the encryption is enabled, Dante

audio is encrypted before being sent over the network. When it is received by another Shure device that supports this feature, it

is decrypted and forwarded for IntelliMix processing or analogue conversion. It can be combined with other network security measures like device access control and network partitioning to create a multi-layered security solution. Shure Network Audio Encryption is available with Microflex Advance ceiling and table array microphones, the P300 Audio Conferencing Processor and selected audio network interfaces. The feature can be added to these products already installed in the field through a firmware upgrade.

Williams Sound in new mode for digital transceiver THE INCLUSION of Bilingual and Relay Modes by Williams Sound to its Digi-Wave DLT 300 digital transceiver now enables interpreters to switch the transmission channels at a quicker pace when ﬂoor language shifts.

www.shure.com

MXL tackles the boardroom MXL IS taking the company in a slightly different direction with its latest raft of releases. Traditionally focusing its dynamic and condenser microphones on the recording market, the company now has its sights set on live performance applications with the Pop LSM-9 microphone, as well as moving into the boardroom with its new AC-360-Z 12-capsule boundary microphone. Building on the design of the MXL AC-404, the boundary microphone is capable of full 360° capture within a 7.5m radius, meaning that it can pick up all participants sat around a large conferencing table when placed at its centre. The USB mic is compatible with both Mac and PC devices without having to download any additional

The Pop LSM-9 family drivers. It also integrates with web conferencing codecs such as Skype, Google Hangouts, BlueJeans and Zoom. Away from hardware, MXL has

recently partnered with Broadcast Supply Warehouse and HDV Mixer on the development of an all-in-one solution for podcasters looking to add video to their livestream broadcasts. The VRS (Visual Radio Station) bundles come in three tiers and include a broadcast mic, POV camera, USB Hub, audio interface and HDV Mixer software. The VRS Solo bundle features an MXL BCD-1 broadcast microphone and Marshall USB-powered highdeﬁnition CV502-U3 POV camera as well as an MXL Mic Mate Pro XLR-to-USB adapter, a BCD-1 mic stand, an MXL USB Hub and 6m SoundRunner mic cable. The VRS Duo bundle increases this setup to two MXL BCD-1 mics with stands and two Marshall CV502-U3 cameras for interview-

style broadcasting. Designed for ﬁeld recording, the VRS Trio Lite bundle includes four MXL MM160 lavalier mics plus the MXL MM-4000 portable audio mixer and interface, as well as three Marshall CV502-U3s. Finally, the new, brightly coloured Pop LSM-9 microphone caught many wandering eyes when it was launched at the NAMM Show in January. Available in four ﬂuorescent colours – blue, magenta, yellow and green – the dynamic handheld mics have a super cardioid polar pattern that aims to deliver strong vocal presence while negating feedback, in addition to boasting low handling noise and a durable all-metal construction. www.mxlmics.com

Digi-Wave DLT 300 The introduction of the Bilingual Mode means interpreters – that hear the ﬂoor language in their headsets while simultaneously transmitting the interpreted language on a separate channel – can now react quicker, effectively eliminating the need to change gear, rewire or instruct the audience to change channels. With regards to the Relay Mode inclusion, interpreters can now act as the relay language, meaning there is no longer a need for a console or a base station to offer relay capability. www.williamssound.com

Now with

48 Flexi Input Channels

The New S-Series. A Snap To Use. Stunning Value. DiGiCo Sound. The DiGiCo S-Series. Starting from $6,999.

www.digico.biz 76 PRO AVL ASIA May–June 2018

1/4 PAGE S21 S31 Exclusive US distribution: Group One Ltd. Toll Free 877 292 1623 www.g1limited.com

PRODUCTS The Trantec S4.10

TOA toes the line on simplicity TOA CORPORATION has expanded its line of 16-channel UHF wireless microphone systems by introducing the Trantec S4.10 in an effort to make multichannel wireless as simple as possible. The new plug-and-play system replaces the Trantec S4.16. With a 5-year warranty, the Trantec S4.10 has a metal frame, simple inter face and is described by the company as being able work within a multitude of applications. It can be used for a wide range of microphones, or musical instruments, as a solution for amateur and semi-professional musicians and theatre per formers. The S4.10 series works in the 500MHz band frequency and is available with the RXA receiver and the choice of dynamic handheld mic or lapel microphone with

beltpacks, both of which contain the IR Sync function, numerical LED display and have adjustable sensitivity. The receiver uses diversity technology and phase-locklook quartz tuning, allowing the user to manually select from any of the available 16 channels, or search for an available frequency. The system can operate with up to 16 selectable frequencies and up to 16 simultaneous channels (dependent on region). This feature allows for multiple connections. A frequency scan function can be used to ﬁnd the right channel while the manufacturer describes its IR Sync auto channel set up function as establishing the best channel connection. www.toa.jp

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Audix takes Micros to the install market AUDIX HAS called on its Micros hypercardioid condenser capsule for a pair of microphones targeted at the install market. More commonly found in musical applications, Micros technology is based on the circuit of the American manufacturer’s SCX series. The ﬁrst of the install additions is the

free operation, as well as a tail out or tail down cable exit to accommodate a variety of installation or mounting requirements. The second addition is the M65 desktop mic. Aimed at education, conference rooms and government applications, the M65 features

The swivel mount allows the M65 to be stored ﬂat M62 boundary microphone. This combines the Micros capsule with a patent-pending internal shock-mount suspension system and is aimed at distance learning student tables, conference and huddle room applications. The mic has been tailored for vocal clarity and designed with logic remote or local programmable on–off switching and dual colour LED status indicators. It also has an off-set button for interference-

rigid tube construction, swivel mount which allows it to be laid horizontally when not in use, attached foam windscreen and black nickel-plating. The manufacturer describes its ‘precision machined design’ as providing ‘a much quieter and smoother motion than conventional gooseneck microphones’. www.audixusa.com

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PRODUCTS

A-T hits the beat AUDIO-TECHNICA IS aiming to meet DJ’s differing personal tastes with a variety of headphones and moving magnet phono cartridges. While the style of each product will suit different techniques, they have all been created with specialist DJ requirements in mind. Starting with the cartridges, both the AT-XP5 and AT-XP7 have been designed to be robust and reliable, with a 0.3mm x 0.7mm elliptical bonded stylus and a 2g to 4g tracking force

range. Both cartridges feature a polyphenylene sulfide (PPS)/ glass fibre body for minimised vibrations, and a luminous tip coating to give maximum visibility of the stylus tip for accurate cuing. Where they differ is the output level, with the AT-XP5 giving 5.5mV and the AT-XP7 giving 6.0mV. Moving on to the headphones, the manufacturer has also created DJ-specific on-ear and over-ear options. Available in black or white, the ATH-PRO5X over-ear

The AT-XP5

headphones have been equipped with 40mm drivers and offer 1,500mW maximum input power. The headphones also feature rotating earpieces for one-ear monitoring and detachable locking cables. The on-ear ATH-PRO7X, meanwhile, offers 45mm drivers and 2,000mW maximum input power. Detachable locking cables are again included alongside what the manufacturer describes as ‘premium, soft, durable earpads’. Staying with headphones but

moving to the manufacturer’s professional monitor range, Audio-Technica has made a colour ful addition to its M-Series line. The ATH-M50xBB is a limitededition blue/black version of the ATH-M50x. While all the technical speciﬁcations are the same, the limited-edition version features metallic blue earcups and black accents for the trim, earpads and headband. www.audio-technica.com

d:sign-ing the boardroom Mipro focuses on the musician

The d:sign family JUST AS DPA Microphones did previously with its d:facto, d:vote, d:screet, d:mension and d:dicate line-ups, the Danish manufacturer has bundled several

of its solutions that are suitable for installed and conference use into the new d:sign Installation Solutions Series. Decreed by the manufacturer as ‘combining sleek design with high-quality audio’, the products reportedly make a good choice for companies looking to create a functional yet aesthetically pleasing conference space. The series includes tabletop, ceiling and ﬂoor-standing microphones, as well as a boundary layer mount. www.dpamicrophones.com

Halo Upmix gets an immersive update THE LATEST updates to Nugen Audio’s Halo Upmix 3D Immersive Extension enable second- and third-order ambisonic output and support for AmbiX and FuMa formats. The update also includes both 7.1.4 and 5.1.4 channel conﬁgurations to facilitate production in Auro-3D formats. Away from the immersive enhancements, the latest software release also improves centre channel extraction, which includes neural network-based dialogue extraction. In this release, the dialogue isolation algorithm has been enhanced and improvements have been made to low-frequency handling. In other news, Nugen has unveiled the AMB Dolby E Module for its Audio Management Batch processor modular software. By using AMB Loudness, DynApt or Upmix modules with the AMB Dolby E Module, postproduction facilities

MIPRO HAS released the MR-24 digital wireless pedal receiver, a product that is compatible with its ACT-2400 Series and that the manufacturer claims is ideal for musicians wanting an easy and quick setup for live stage applications, such as those common in house of worship scenarios. Per formances by musicians are sometimes hampered by traditional wireless systems that have struggled to completely replace wired systems. The new pedal receiver seeks to give per formers more freedom as well as convenience in playing and adjusting their sound effects. The MR-24 is contained in a metal case and has a large graphic LCD screen and a builtin antenna – with a speciﬁc structure designed to prevent accidental breakage – as well as an ergonomic footswitch. The per former only needs to plug an

Mipro’s MR-24 MT-24 digital transmitter to the output jack of the instrument to replace the cable. Mipro also claims that the new design aims to eliminate outside interference and distortion. The Proprietary 3D diversity technology and 64 ID settings are installed with the aim of avoiding interference from Wi-Fi and

2.4GHz communication products. The true digital wireless system also prevents distortion caused by an analogue system, while the balanced output jack with ground lift switch for PA system connection is said to eliminate electrical noise. www.mipro.com.tw

Sennheiser caters to all budgets

XS Wireless 1 Dual receiver

Halo Upmix 3D Immersive Extension can natively batch process Dolby E files. The module also provides full support for Dolby Metadata and Dolby E Program configurations and converts Dolby formats to linear PCM wave files. www.nugenaudio.com

78 PRO AVL ASIA May–June 2018

SENNHEISER HAS expanded its XS Wireless 1 series for customers with smaller budgets by introducing the new EM-XSW 1 Dual receiver to its line. The German audio company has also unveiled the latest version of its Control Cockpit software which reportedly enables easier handling, maintenance and control of all wireless microphone solutions via web browsers on smartphones, tablets and laptops. Starting with the EM-XSW 1 Dual, the 2-channel receiver is

available separately or as part of two XSW 1 Dual sets that combine with two wireless microphones using either the e 825 or e 835 capsule. It features automatic frequency management with onetouch synchronisation, antenna switching diversity and icon-based controls. Each receiver has up to 10 compatible, preset channels in eight frequency banks, and provides balanced XLR and unbalanced jack outputs. The sets are available in various frequency

ranges within the UHF band. The new version of the Control Cockpit, meanwhile, offers control of SpeechLine Digital Wireless along with further microphone systems, which now includes the Digital 6000, Evolution Wireless G3 and the Evolution Wireless G4 series. The update is available from the manufacturer’s website. Meanwhile, a free update is also available for the Digital 6000 wireless microphone system’s EM 6000 receivers. The update enables a command function that lets users set up a talkback channel with suitable transmitters. Finally, the EM 6000 Dante has also been upgraded to now feature a secondary Dante port. www.sennheiser.com

PRODUCTS

TotalMix goes totally remote

Prism Sound’s Lyra II

Prism Sound banishes errors and dropouts PRISM SOUND has incorporated a new technology into its line of USB audio interfaces that it claims will make audio errors and dropouts a thing of the past. The Verifile technology works by ‘a fragile steganographic’ process that embeds derivative data within the dither of the ADC, containing a rolling hash code that allows the audio data to be continuously checked. Any incorrect samples, missing or repeated audio segments or any other audio errors in the resulting files can be detected, in an attempt to make the recorded file errorfree. The technology is being made available free-of-charge for owners of Lyra, Titan and Atlas interfaces via a software and firmware download.

Verifile is suitable for any linear PCM audio at sample rates from 44.1kHz to 192kHz and wordlengths from 16- to 32-bits. Since the metadata is included within the audio stream that it verifies, files may contain any number of audio channels. As well as verifying computer ingestion during production, Verifile can also reportedly be used to guarantee uncorrupted delivery of audio content over any bittransparent delivery media, such as networks or dedicated digital communication links. Verifile can also embed limited additional metadata into the audio stream, such as source, copyright details and timestamps.

Dual-slot Thrust

API 529

THE 529 stereo compressor is the ﬁrst dual-slot module in API’s 500 series. It draws on the success of the manufacturer’s 2500 stereo bus compressor by including many of the same features and controls,

including API’s patented Thrust functionality as well as its discrete op-amps and transformer technology. The 529 compressor has been designed to suit a wide range of applications, handling subtle adjustments to heavy compression effects. The Thrust circuitry reportedly delivers a punchy low end, while a switch labelled Old/New allows users to select between classic and modern compression characteristics. Choosing ‘Old’ provides a vintage-style feedback compression, whereas ‘New’ mode delivers feedforward compression. For gain, the Make Up button facilitates ratio and threshold adjustments without affecting the output level. www.apiaudio.com

Once the original audio has been ingested, the integrity of the recorded files can be checked by an offline software app or monitored in real time by Prism Sound interface controller apps, or in the manufacturer’s SADiE software during playback. In addition to Verifile, the manufacturer has also recently introduced ASIO Direct Monitoring (ADM) for Titan, Atlas and Lyra interfaces, as well as SADiE. ADM allows mixers in the interface device to be controlled automatically from DAW software, enabling performer foldback with ‘near zero latency’. www.prismsound.com

80 PRO AVL ASIA May–June 2018

preamps offering 60dB of gain, along with all-new convertor technology, digital expansion options and new software focused for mixing.

the inter face is situated. The app can mirror the exact state of the host system, including the entire display of the inter face, the current input and output routing and all settings including level meters. It is TCP based and is compatible with RME’s

The new app, TotalMix Remote, offers full network remote control for all TotalMix and TotalMix FX software. It is available for every RME inter face as well as for Mac, PC and iOS. Engineers can use TotalMix Remote to control RME inter faces via tablet or a remote computer, from routing to submixes, by entering the IP address of the computer where

ARC USB, a USB-based remote control with a rotary wheel and 15 programmable illuminated buttons. In order to make TotalMix Remote operational, RME’s TotalMix FX 1.50 free software update must be installed, this is available for Windows, Mac OS and iOS (iPad). www.rme-audio.com

Cello playing interface tune WITH 125dB dynamic range and operation of up to 384k, Cello is JoeCo’s ﬁrst desktop audio inter face. Cello is a 22-in/4-out USB 2.0 inter face for Mac and PC, with an analogue front-end. It has a tactile control sur face, a selection of effects for Cello’s new preamp design and is compatible with Adaptive Conversion technology, which offers ADC and DAC ﬁltering options, enabling users to tailor the per formance of their Cello depending on their choice of sample rate and the source they are recording. Other Cello features include JoeCo’s Top+ algorithm, a builtin talkback microphone and onboard monitor controls. At the front end, the two microphone inputs include discrete analogue mic preamps with 80dB

Audient grows iD family AUDIENT HAS expanded its iD series of desktop audio inter faces by adding the 20-in/24-out iD44. The unit incorporates four Class-A mic

DESIGNED WITH FOH engineers and recording studios in mind, RME’s latest app and update to TotalMix and TotalMix FX allows control over its monitoring and routing software via a network, Wi-Fi or even remotely from anywhere in the world.

The ADAT inputs and outputs provide flexibility for users to

The JoeCo Cello

gain, Hi-pass ﬁlter, Pad, Phase Reverse – with two dedicated preamp-only channels – and mastering grade monitor outputs. Insert points are incorporated in both mic channels for outboard

grow their studio by adding up to 16 extra channels of mic pres as required. Channels 1 and 2 also feature two fully balanced inser t points for integrated outboard analogue line level sources. The manufacturer is

equipment. S/PDIF and 16 channels of ADAT Lightpipe input are provided for use with external preamps. www.joeco.co.uk

also promising an upcoming Windows drivers update that will provide ‘significant’ per formance enhancements, allowing for reduced buffer sizes and operation at lower latency. www.audient.com

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PRODUCTS

Dynacord goes permanently big with IPX More options added to Armonía

FOLLOWING THE release of Dynacord’s C Series amplifiers, the German manufacturer is bringing the same technology to mid- and large-sized permanent installations with its new IPX series of multichannel amplifiers that incorporate Omneo IP networking architecture. Designed for fixed install use in venues from concert halls, art centres, theatres and houses of worship to distributed sound systems in stadia and entertainment centres, the series comprises three 4-channel models and one 8-channel model, offering a stated power density of 5kW, 10kW or 20kW from a single amplifier with all channels driven: IPX5:4 (4x1,250W at 41), IPX10:8 (8x1,250W @ 41), IPX10:4 (4x2,500W @ 41) and

internal analogueto-digital conversion with what the manufacturer describes as ‘ultra-low latency and a superior signal-to-noise ratio’. The three DSP blocks are split into user, array and speaker processing controls,

IPX20:4 (4x5,000W @ 41). This is a result of several power drive options utilising Dynacord’s patented VLD (Variable Load Drive) technology as well as newly developed parallel and bridged parallel operation modes. VLD technology (IPX5:4 and IPX10:8) allows the available output power of 1,250W per channel to be used at either 41 or 81, or via 70V or 100V lines in direct drive mode. Additionally, the IPX series offers 96kHz digital signal processing for

each featuring a range of equalisation, delay, level options and asymmetric ﬁlters to adapt to different applications. Complete remote control and supervision is available via the IRIS-Net software. The manufacturer also promises high energy savings thanks to the units’ Eco Rail mode, which helps to reduce power consumption by up to 50%.

THE LATEST version of Powersoft’s Armonía Pro Audio Suite has added a raft of new features and support for its latest products to help set up and manage complex audio systems.

new bridge mode support on X Series, Ottocanali DSP+D, Quattrocanali DSP+D and Duecanali DSP+D models and new phase representation on raised cosine EQs.

These include: increasing the FIR length up to 2,048 taps in every EQ on X Series, Ottocanali DSP+D, Quattrocanali DSP+D and Duecanali DSP+D amps, improvements in interactive tuning and advanced groups,

Powersoft has also released version 1.4 of its Armonía ProManager software introducing support for its IpalMod seies and M-Drive.

www.dynacord.com

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82 PRO AVL ASIA May–June 2018

www.powersoft-audio.com

PRODUCTS

The MD 82 AX MkII

Work Pro adds Bluetooth control A PAIR of Work Pro installation products have become the first from the manufacturer to offer app-based control via Bluetooth. The Spanish manufacturer’s PA 100 MX installation amplifier and MD 82 AX automixer have both been updated to include the technology. The PA 100 MX is a half-rack, 3-input 100W installation amplifier with two line inputs and one mic input, a built-in feedback destroyer and a switchable low-impedance (4/81) or 70/100V output. As well as adding Bluetooth control, the new PA 200 MX doubles the power output of the PA 100 MX to 200W while offering all of the features of the original. The MD 82 AX MkII also retains all the functions of the original auto-mixer (auto-mixing with a selectable target level and switchable phantom power for up to eight mic channels with full bass, mid and treble EQ, a 4-level automatic feedback destroyer function,

App-based control for the MD 82 AX

The PA 200 MX doubles the power output of the PA 100 MX

www.workproaudio.com

and high-pass filtering) but with all of these features now additionally accessible and controllable via Bluetooth. The Bluetooth control is via an app for iOS or Android devices and adds to the existing RJ-45-based network control. The user interface controls all the major features on the PA 200 MX including mic channel input gain, the settings on the feedback destroyer, and output gain and those of the MD 82 AX MkII. Presets for two complete system configurations on the amplifier and three for the auto-mixer can be stored via the app and recalled remotely when required.

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Travelling long distances this Sommer TARGETING LIVE entertainment and installation applications, Sommer Cable has launched new AOC cables for the longdistance transmission of A/V signals via HDMI 2.0a and DisplayPort 1.4. Both are glass ﬁbre lined, designed to be robust and feature the required electronics already built into the connector shell, negating the need for a separate power supply. The HDMI 2.0a version, available in lengths of up to 100m, reportedly achieves 18Gbit/s of bandwidth and the DisplayPort 1.4 variant, which can reach 50m, is said to be capable of 25Gbit/s. Supporting feeds of a 4K resolution at 60Hz with a 4:4:4 scan or HDR 10, the AOC cables also adhere to standards such as HDCP 2.2 copy protection.

Audio, Control Signal, Beam Steering Additionally, Sommer Cable has also expanded its SysBoxx series of modular installation components with the introduction of SysTrunk, developed for use as both a dado duct and as a media connectivity column. With its integrated connection setup, SysTrunk allows duct units to be joined lengthwise in a form-ﬁt and friction-locked conﬁguration.

plus Power over Ethernet

1/4 PAGE UPRIGHT PoE READY

www.sommercable.com

SPOKEN HERE

QUALITY - MADE IN GERMANY

www.pan-acoustics.de

SysTrunk

May–June 2018 PRO AVL ASIA 83

PRODUCTS

Audac expands WaveDynamics coverage AUDAC HAS added the WaveDynamics technology it created for its SMA and SMQ amplifiers to a pair of new releases. The technology itself allows users to set digital audio filters, limiters and time alignment delays as well as a range of other settings, straight from the amplifier. The first series to benefit from the technology is the PMQ line of 100V amps. The PMQ family comprises three different 4-channel configurations that are available in output powers of 240W, 480W and 600W for each channel. Settings can be altered via the front panel 2.5-inch display or loaded from a USB. The Class-D amplifiers also feature an RS-232 connector as well as the ability for optional Dante expansion.

WaveDynamics has also been added to the Belgian manufacturer’s System Manager software. Through the WaveDynamics configurator, users can see a graphical visualisation of all the added digital audio filters and crossovers. All audio configurations can now be made in the System Manager and exported to a USB drive for loading in a desired amplifier or speaker set. Away from WaveDynamics, the manufacturer has unveiled a string of new products across its catalogue. Starting with amplification, the COM108 is a public address mixing amplifier aimed at small- and medium-sized audio systems in commercial installations. The Class-D amplifier delivers an output power of 80W to constant voltage (100V and

WaveDynamics conﬁgurator

stereo design with a total of 10 inputs reportedly allows connection for any type of audio source such as microphones, Bluetooth devices or line-level audio sources. Channels 1 up to 8 are balanced inputs, allowing the connection of microphones or line-level audio

The PMQ ampliﬁers

The PRE240

70V) or low impedance (41) audio systems. It offers the bare essential controls on the front panel, as well as a stereo mini-jack with a built-in automatic switch. This provides an audio source swap between the RCA in the back and the jack in front, as soon as the jack receives input. The use of high-quality condenser microphones for announcements is made possible through the 15V phantom power supply. A priority switch can override the background music when enabled. Targeting applications with a large number of microphones or where other mono-balanced audio inputs need to be mixed in two or four output zones is the PRE2xx series of preamps. The multi-functional

sources with the ability of enabling 48V phantom power to each input. They feature 3-band tone control and talk-over for priority announcements. The other two inputs are unbalanced stereo line inputs. An integrated Bluetooth receiver and a front panel 3.5mm jack offer wired and wireless connectivity. The front panel includes a master volume control with 2-band tone control and LED VU bar for each output. Each input section is accommodated with input mixing dials and output selection switches. A priority mute for each zone output suppresses all (nonpriority) music sources. At the other end of the signal chain, the manufacturer has

launched the Cena, Cira and Cali lines of ceiling speakers. Cena offers a single cone 4.5-inch and 6.5-inch model; Cira differentiates itself with the manufacturer’s TwistBlend patented lock system for installer convenience; while Cali features a metal protection

Cali, Cena and Cira

dome that Audac states will protect against possible debris and enhance the speakers’ sound quality. Finally, the manufacturer has also introduced a professional 2.1 soundbar dubbed IMEO1 to target classrooms, presentation rooms or meeting rooms. www.audac.eu

Ecler sets its priorities

Adapting to Dante

PRIORITY MESSAGE management is the theme with three additions to Ecler’s Essentials family. The Spanish manufacturer has unveiled a pair of Dante interface amplifiers as well as a digital matrix that all have this functionality at their core. Starting with the Dante interface amplifiers, the eCA120DN is a dual 60W RMS at 41 Class-D stereo compact amplifier, while the eCA120HZDN is a 120W RMS at 100V Class-D mono compact amplifier for high impedance lines. Much of the core feature set is the same for both products. Both offer two analogue audio inputs and a pair of Dante audio inputs, both with selectable priority function (over the other input signal) as well as an auxiliary audio output, auto

AUDINATE HAS entered the hardware market with a family of endpoint adaptors to connect analogue equipment onto a Dante network. The Dante AVIO series features six members including line-in and line-out analogue adapters, a bidirectional AES3/EBU adapter and a bidirectional stereo USB adapter.

The eCA120HZDN

84 PRO AVL ASIA May–June 2018

Ecler’s eCA120DN

stand-by function (selectable), front panel gain trimmers, a master volume control knob and fanless design. Both also offer an RJ-45 remote control volume port that is compatible with Ecler’s WPm wall-panel control series. Meanwhile, the eMIMO1616 is a digital audio matrix with 16 input and 16 output analogue channels. The inputs are four for mic/mono line, four channels for ST line and

eight for mono line received on the unit’s remote ports. The 16 output channels can be set up individually for mono zones or in pairs for stereo zones. The eight remote ports are for connecting and monitoring wall panels as well as sending audio from the zones. There are also a pair of ports for connecting pager consoles and two audio signal priority levels for talkover/pager. Programming can be done via the integrated web server using a standard web navigator, without the need to install additional software. Remote control for the user can be achieved with the eMIMO pilot application for Android and iOS devices. www.ecler.com

a Dante audio network, while the analogue output adapters can drive ampliﬁers, powered speakers or recorders. Aimed at presentations and conference rooms, the USB adapter connects any computer to a Dante audio network without additional software,

The Dante AVIO 2-channel analogue input adapter The AVIO adapters act as an independent Dante network device. The analogue adapters are available as dedicated inputs or outputs with one or two channels of audio. Analogue input adapters allow equipment such as mixers, mic preamps and stage DIs to connect to

providing stereo input and output that can be used by any audio application. Meanwhile, the AES3 adapter provides stereo input and output for AES3-connected DSPs, mixers, compressors and preamps. www.audinate.com

PRODUCTS

QSC Reflects on Q-Sys QSC HAS expanded the control capabilities for its Q-Sys Platform ecosystem by introducing Q-Sys Reﬂect, which offers new monitoring and management technology, software feature licensing, drag-and-drop visual programming and native touchscreen controllers.

116w-G2 (203mm touchscreen with 1920x1080 resolution). The TSC-G2 Series touchscreen controllers operate without dedicated control hardware and can be programmed to trigger actions on any native Q-Sys device or third-party devices connected to the Q-Sys system.

Visionary Solutions’ plug-in for Q-Sys Designer

Q-Sys Reflect will launch with two different versions and is seen by QSC as a ‘fundamental need’ for IT and A/V systems administrators to easily monitor and manage their systems. Q-Sys Reflect Core Manager runs natively on the Q-Sys Core processor and provides a more modern and secure inter face for common, IT-related tasks on the Q-Sys hardware. Q-Sys Reflect Enterprise Manager extends that web platform to the cloud and provides a hosted solution to monitor and manage multiple Q-Sys systems including Core processors and peripherals. QSC will initially offer Q-Sys Reflect Enterprise Manager as a hosted cloud-based solution before switching to an onpremises version as well as a robust API – which will allow users to connect and integrate Q-Sys Reflect with other enterprise management applications and dashboards as desired – in future product details and feature updates. Meanwhile, QSC has introduced four new TSC-G2 Series touchscreen controllers: TSC47w-G1 (119mm touchscreen with 960x540 resolution), TSC55w-G2 (127mm touchscreen with 1280x720 resolution), TSC80w-G2 (203mm touchscreen with 1280x800 resolution) and TSC-

Elsewhere, QSC has also unveiled the ultra-compact KS112 powered subwoofer, the second model in the KS subwoofer series and newest K family member. It is compatible with a variety of installation and entertainment applications where high-output, low-frequency extension is needed from an ultra-compact and portable package. The KS112 features a single 12-inch transducer in a sixth order bandpass premium birch cabinet. Onboard DSP provides variable crossover, delay and savable/ recallable scenes for commonly used applications, while advanced thermal and excursion processing further optimises system per formance. In other news, QSC has added Visionary Solutions to the QSC Strategic Partnership Program with native control and audio integration options for the Q-Sys Platform. The integration for Visionary Solutions PacketAV Matrix Products includes a video control plug-in as well as options for audio integration via native AES67, Dante or Q-Sys Media Stream Receivers. Q-Sys will also provide audio integration for Visionary Solutions’ AVN4XX Series H.264 encoders via the Q-Sys Media Stream Receiver.

Sonifex talks back again SONIFEX HAS added to its AVN range of talkback intercoms with the AVN-TB6 6-station talkback intercom and the AVN-TB20AR 20-station rackmount intercom. The AVN series is designed for simple setup and conﬁguration via a web browser by using AES67 AoIP natively to connect devices together over a standard Ethernet network. Possessing a smaller button count, the AVN-TB6 is built for use with smaller talkback systems or applications with reduced communications needs. It is available in two versions: the freestanding version, AVNTB6, which can be rackmounted with the optional AVN-TB6RK rack plates, and the AVN-TB6D,

AVN-TB6 a desktop version in a smaller form factor with a sloped front. Both the AVN-TB6 and AVN-TB6D feature mic and headset inputs, +48V phantom power for the mic input, headphone and speaker outputs with volume control and loudspeaker mute and mic mute buttons. Communication is possible as a Talk action, a Listen

www.sonifex.co.uk

AVN-TB20AR

Redesigning DIO TM STAGETEC systems has released an updated version of its DIO (Dante Input/Output) audio format converter with a new design and new features, including full compatibility with Dante Domain Manager. In addition, the redesigned DIO offers selectable channels per ﬂow for low bandwidth links, additional DSP Mute, Dim and Vox parameters and priorities, and new serial tunnelling features along with an updated web design. It includes a 2-port Ethernet switch

(one 1Gb copper and an SFP cage) and incorporates Dante audio. Power can be delivered via PoE (power over Ethernet) or via an external PSU, and both sources provide redundancy.

www.tm-systems.com.au

ﬁxtures. The new 6W DL-SE voice alarm loudspeakers are EN54-24 cer tiﬁed and available with either a 130mm or 165mm full-range speaker. Also joining

the pair is a square version that it says provides the same ‘clear and balanced’ sound as the 130mm round speaker. All models offer a 100V transformer with three power tappings, while a sturdy metal housing in RAL 9016 is said to provide resistance and stability. Installation and ﬁxing is via WAGO221 connectors and strong spring clamps with protective caps for vibration damping. The connecting cables can also be supplied with rubber grommets in the ﬁre dome.

The square DL-SQ 06-130T-EN54

www.ic-audio.com

The 165mm DL-SE 06-165TEN54

GERMAN EN54 specialist, IC Audio, has released a new frameless design ceiling speaker that it describes as being inspired by the look of contemporar y LED lighting

86 PRO AVL ASIA May–June 2018

As far as I/O goes, an AES input and output are included, as is a mic input, line input and line output. A headphone output with external volume control is also included, while an IP66 version of DIO is also available, allowing integration of analogue, AES and 100/70V systems outdoors. A pair of general-purpose input/output (GPIO) pins are also present on the device.

IC audio draws inspiration from LEDs

www.qsc.com

The KS112 subwoofer

action or a duplex Talk/Listen action to or from each station. Coloured LEDs within the buttons highlight which action is being performed. There are also two versions of the AVN-TB20AR: the AVN-TB20AR (rackmount) and AVN-TB20AD (desktop). Sharing the same feature set as the AVN-TB6, they have more station buttons allowing greater communication for larger facilities as well as a Phone button for remote dialling and control of external telephone hybrids and a GPIO button for triggering remote functions.

PRODUCTS

Biamp has the room covered

DirectOut adds stream redundancy to Montone.42 A FIRMWARE update for DirectOut Technologies’ Montone.42 format converter means it now offers support for the SMPTE standard ST 2022-7 (stream redundancy). The German manufacturer is reportedly one of the ﬁrst manufacturers to implement ST 2022-7, which describes seamless protection switching between two RTP audio streams. ‘With the growing proliferation of IP-based production systems in the broadcast industry, our customers’ demand for redundancy concepts is also increasing,’ said Claudio BeckerFoss, network audio specialist at DirectOut. ‘We are pleased to be able to offer ST 2022-7 in Montone.42 at such an early stage. The ﬁrst projects planned to incorporate this standard are now being implemented and existing

BIAMP HAS extended its Tesira platform with a series of beamtracking ceiling microphones and a power over Ethernet (PoE+) conferencing ampliﬁer. The microphones include three 120° zones to provide 360° room coverage, and identify and lock to a signal source, even if the person speaking is moving around. The Tesira TCM-1 is an AVB ceiling microphone comprised of a pendant microphone and a plenum box with an additional RJ-45 connector for daisy-chain connections. The Tesira TCM-1A is an AVB ceiling microphone and PoE+ ampliﬁer comprised of a pendant microphone

and a plenum box. The 2-channel PoE+ ampliﬁer includes an internal limiter, selectable power and a burst mode to handle peak signals. Tesira TCM-1EX is an expansion AVB ceiling microphone for use as a second or third microphone

in conjunction with the TCM-1 or TCM-1A; it cannot operate as a standalone device. The Tesira AMP-450P is a 4-channel PoE+ conferencing amplifier that includes an internal limiter and is reportedly capable of providing 3W of continuous power to all four channels and operating in a burst mode to handle peak signals, providing up to 50W (41) or 30W (81) per channel. The output channels are also software configurable. The amp is suitable for use in air-handling spaces and is configurable via Tesira software. www.biamp.com

Bosch in expanded IP drive

installations beneﬁt from this update as well.’ Montone.42 is an AES67-compliant converter that bridges MADI (AES10) and Ravenna audio over IP technology. The manufacturer believes that supporting ST 2022-7 will provide an increase in transmission security for audio signals in IP networks. Additionally, the two network inter faces – which are now independently conﬁgurable – offer the possibility of operating audio streaming and device control in separate networks.

BOSCH HAS expanded its IP networks for Dicentis conference and PA/VA systems by introducing Dicentis Interpreter and Praesensa. The interpreter desk, which is part of the Dicentis Conference System, has been optimised for the real-life needs of interpreters and features tactile buttons and knobs that provide control and facilitates operation without even looking at the desk. The interpreter can better observe non-verbal communication of the speakers and has also been speciﬁcally tested and optimised for visually impaired interpreters. Interpreter also separates the incoming and outgoing languages

Dicentis Interpreter

in two vertically aligned columns supported by a screen. Three assignable buttons provide the interpreter with short-key functions for quick access to supporting functions’. The HDMI output enables an external video screen

to be added, so the interpreter can see the participant speaking or the participant’s presentation. The desk complies with the ISO 20109 standard. The Praesensa is the latest PA/VA system from Bosch and is networked with the aim of ensuring high ﬂexibility and scalability from small centralised to large decentralised systems. The Bosch Omneo IP architecture supports Dante audio networking, AES67 and AES70 protocols. Bosch also states that Praesensa improves the effective utilisation of available power. www.bosch.com

www.directout.eu

BRUTALLY HONEST. The ADAM S Series

S3V

S2V S5V

1/3 PAGE S5H

The new S Series: Designed and engineered from scratch to reveal details that no other flagship monitors can. With more bass extension. Dramatically enhanced mid-range detail. And loud, intensely accurate output without fatigue or distortion. This is sound designed to reach your inner ear. Inspire trust in your creative instincts. And move you to create your best work... by hearing what others miss.

S3H

Find us on the web at www.adam-audio.com or email info@adam-audio.com 88 PRO AVL ASIA May–June 2018

Trust Your Inner Ear

PRODUCTS

Attero Tech climbs the wall ATTERO TECH has unveiled a collection of AES67 networked audio wall plates. Described as a cost-effective way of adding up to six channels of AES67 audio to an existing AES67-based networked audio system, the unA6IO is a 4-in/2-out interface that provides two XLR inputs with switchable mic/line gain, switchable phantom power on the inputs and a choice of unbalanced inputs (RCA or 3.5mm stereo jack). The interface incorporates one 3.5mm output and two balanced outputs.

The unAX4I incorporates four balanced mic/line XLR inputs and two balanced line outputs on an in-wall Phoenix connector. Meanwhile, the unAX2IO+ is a 2-in/2-out interface that provides an additional two balanced line inputs on the side of the unit for use with a companion unAX2I passive expansion plate. Optimised for BYOD applications, the UNA6IO-BT is a 4x2 multi I/O with an integrated Bluetooth audio receiver. The interface also includes one unbalanced line level

unAX2IO+

output and one front-mounted 3.5mm TRS stereo unbalanced line level output. Finally, the unAIO2x2+ is a 2-in/2-out interface with 3-pin depluggable audio inputs and outputs, switchable mic/line gain and switchable 48V phantom power on the inputs. Attero Tech’s AES67 wall plates

www.atterotech.com

Chief makes an Impact CHIEF HAS unveiled its Impact On-Wall Kiosk. The depth can be adjusted to allow for a variety of display sizes, while the reversible hinges reportedly help avoid installation and service obstructions. When open, the display remains mounted to the frame to provide users access for service and maintenance.

THIS

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IS STATE-OF-THE-ART WIRELESS COMMUNICATION

Chief’s Impact Kiosk

PE N

PATE N

BOLERO WIRELESS INTERCOM

Chief is also continuing its focus on digital signage solutions with the TiLED Series, a modular LED mounting system designed to support creative videowall conﬁgurations. The system can support one, two or three LED displays that connect together to form a seamless videowall. Built for the Samsung IF Series, an integrated plumb adjustment reportedly keeps everything ﬂat, while offset mounting slots are said to protect the LEDs from friction. Lastly, Chief’s line of heightadjustable display mounts is expanding to include electric solutions. The anti-collision technology can halt and then reverse motion.

• • • • • • • • • • •

Up to 10 beltpacks per antenna 100 antenna, 100 beltpack system capacity Best-in-class voice clarity “Touch&Go” beltpack registration 6-channel beltpack plus dedicated REPLY button Built-in microphone and speaker for Walkie-Talkie mode Smartphone integration via Bluetooth Ergonomic, robust beltpack design Sunlight-readable display with Gorilla Glass™ Decentralized AES67 IP networked antennas Seamless integration into RIEDEL‘S ARTIST intercom matrix www.riedel.net

www.milestone.com/products/chief

May–June 2018 PRO AVL ASIA 89

PRODUCTS

Blackmagic tops up live broadcast lines

The Atem 4 M/E Broadcast Studio 4K

BLACKMAGIC DESIGN has added products throughout the signal chain with a new switcher and control panel for its Atem series as well as a new high-end professional broadcast camera for its Ursa line. Also introduced are new camera and studio ﬁbre converters for live production events. Blackmagic Design’s latest switcher is the Atem 4 M/E Broadcast Studio 4K with 20 inputs, four M/Es and 16 next-

generation Advanced Chroma Keyers. It also features two Ultra HD multiviewers, full 2D DVE, built-in SuperSource compositing engines with four picture-inpicture DVEs as well as full re-synchronisation on each input. A free software upgrade that adds all of the same new features to the previous 2 M/E Broadcast Studio 4K model is also available. The Atem 1 M/E Advanced Panel includes amongst its features

the latest broadcast technology, buttons, knobs, T-Bar fader and joystick and a built-in LCD. It has been designed to give Atem users control over their live production switcher when producing complex live television programmes with multiple cameras and sources. The unit ﬁts in a standard equipment rack, making it suitable for use in ﬂy-away kits, outside broadcast trucks and at live events with limited space.

BMD’s Atem 1 M/E Advanced Panel

Blackmagic’s Ursa Broadcast

Blackmagic’s Ursa Broadcast is its latest high-end, professional broadcast camera designed for both studio programming and live production. Ursa Broadcast works with existing B4 broadcast HD lenses, can be used for both HD and Ultra HD production, features a 4K sensor, extended video dynamic range, traditional external controls and buttons, built-in optical ND ﬁlters, dual CFast and dual SD card recorders.

The company has also introduced the Camera Fiber Converter and Studio Fiber Converter to try and solve all issues connected with running multiple cables – within long and short distances – at live productions. It can convert all essential connections for video, audio, power, talkback and tally into a single SMPTE hybrid electrical and ﬁbre optic cable. www.blackmagicdesign.com

Seamless switching from Analog Way FOLLOWING THE acquisition of Picturall, Analog Way has introduced a range of media servers based on the Picturall Linux software engine. With resolutions up to 8K, uncompressed playback and the ability to drive a large number of 4K@60 projectors or LED processors from a single server unit, the Picturall series has been designed for corporate events, live shows, high-end theatre productions or largescale digital signage projects. The models include the Picturall Uncompressed, Pro LE, Pro, Twin and Quad. The manufacturer has also unveiled its Ascender 48 – 4K – PL, described as a high-end 4K seamless switcher designed for staging and systems integration. Forming part of Analog Way’s LiveCore series, the switcher features 4K live processing, seamless switching on all layers and a web-based user interface. It has 12 inputs, four outputs and one multiviewer, 48 scalers and six

true-seamless scaled layers, plus a native background layer per output. Analog Way has also added HDBaseT support to its QuickMatriX – H, Pulse2 – H, SmartMatriX2 – H and Saphyr – H switchers that form part of the manufacturer’s Midra series. The models offer up to 10 seamless inputs, including two or four HDBaseT inputs supporting video, embedded audio and

Ethernet passthrough. The ﬁrst two HDBaseT inputs also support PoE+. The switchers also include two outputs with mirrored HDMI and HDBaseT connectors. Other features include real-time, ultra-low latency image processing, true seamless switching, advanced audio management and a drag-anddrop GUI. www.analogway.com

A new Apex

The Ascender 48

Calibration and visualisation take centre stage THE R15 software release from disguise has camerabased calibration and a new visualisation renderer as its key features. OmniCal is the camera-based projector calibration engine. Using a network of either iPod Touch or wired Ethernet machine vision

90 PRO AVL ASIA May–June 2018

cameras, the engine captures a point cloud of the stage, calibrates projectors to what the manufacturer describes as ‘sub-pixel accuracy’ and conforms pre-existing surface meshes to match reality. The visualisation renderer, meanwhile, has been named

Lux. The manufacturer states that this ‘offers a more accurate simulation of light levels, camera exposure and occlusion than ever before’. VR support for the HTC Vive and Oculus Rift platforms is also included as part of Lux. www.disguise.one

THE APEX 0.9mm LED videowall is the latest addition to Christie’s Velvet Apex Series, facilitating resolution scaling in a smaller square-metre area while reducing the optimum and minimum viewing distances. This allows the intended audience to see content clearly at a closer distance. The Apex 0.9mm model is conﬁgured to a 16:9 aspect ratio and possesses a remote and redundant power supply. It is front serviceable, allowing engineers to ﬁx or maintain the videowall without having to take it down to access the rear. Christie also states that the system offers advanced monitoring capability via SNMP (Simple Network Management Protocol). In addition, Christie has launched the Velvet CorePlus LED range of videowalls as a ‘value-priced’ solution. Available in pixel pitches from 1.2mm to 4.0mm, the single

architecture scales to popular resolutions up to 4K and they are customisable with myriad remote and onboard options. Velvet CorePlus LED systems can also be installed and serviced from either the front or back. In other news, Christie’s Boxer 3DLP projector has become the ﬁrst projector to deliver a direct interface with a SDVoE system over a 10G Ethernet. ‘Christie Boxer is the ﬁrst projector that integrates directly to an Ethernet network to accept real-time, 4K/60 A/V content and control using SDVoE,’ said Curtis Lingard, senior product manager at Christie. ‘The input board supports onboard processing and eliminates the need to purchase an external SDVoE receiver, and install, wire and power it locally to the projector.’ www.christiedigital.com

TWO NEW ENTRIES IN THE VIO FAMILY

VIO L208

Two-way active line array module HF 1x1.4” Neodymium LF 2x8” Neodymium Class D DIGIPRO® G3 900W/RMS Amplifier Max SPL 133.5 dB Double rotary encoder Only 18.1 Kg per module

info@dbtechnologies-aeb.com

VIO S118R

Active bassreflex subwoofer LF 1x18” Frequency Response (-10dB) 32 Hz Class D DIGIPRO® G4 1600W/RMS Amplifier Max SPL 139 dB Delay rotary encoder (9.9 ms)

dBTechnologies

www.dbtechnologies.com

PRODUCTS

Ross Video eases the flow

The OverDrive-Graphite Workflow Automation Production Solution Bundle LOOKING TO offer more accessible workflow automations for productions, Ross Video has introduced the OverDrive-Graphite Workflow Automation Production Solution Bundle and Ultrix-Fr5. The solution bundle combines OverDrive Express with Ross’ Graphite integrated production vehicle and is described as being ideal for smaller productions looking to cost-effectively improve production values. OverDrive is a broadcast industry production automation solution with the 2016 version, OverDrive Express, developed with smaller productions in mind. Graphite combines a real Carbonite production switcher with XPression graphics, two channels

of clip server and a brand new 28-channel Rave audio engine. The Carbonite switcher functions are built on a separate PCIe card and are directly powered by the system. ‘The bundle offers more functionality for the price than any competing solution, and that helps to make customers’ lives easier on both a technical and a commercial level,’ commented Ross Video marketing product manager for control and automation, Mike Paquin. Meanwhile, Ultrix-FR5 is a 5U 144x144 version of the A/V processing platform that, according to the manufacturer, can replace up to ﬁve full racks of traditional equipment. It is software

upgradeable so customers can add additional features without having to purchase any additional hardware. Ross Video claims that the ﬁrst two versions of Ultrix were extremely disruptive products which, in turn, prompted it to respond with a larger product featuring a new 5U version. The latest version has additional features such as 3,000x3,000 audio routing and processing fabric that includes audio embedding/ de-embedding, MADI support and clean/quiet switching on every output as standard. Also available are 24 MultiViewers, 12G support and Input FrameSyncs as software licences. www.rossvideo.com

HDMI switching from Atlona DESIGNED FOR HDBaseT A/V installations, Atlona’s HDVS210H-TX-WP wall plate switcher features two HDMI inputs and combines 2x1 auto-switching, integrated display control and HDBaseT signal transmission. The HDVS-210H-TX-WP supports video up to 4K/UHD at 60Hz with 4:2:0 chroma subsampling or 30Hz with 4:4:4 subsampling, and is HDCP 2.2 compliant for compatibility with protected content. Automatic input selection and display control provide switching between the unit’s two inputs as well as powering up compatible displays when a presentation device is connected. Input switching, audio volume and display power can also be controlled via RS-232 or TCP/ IP commands. The switcher can transmit video, embedded audio, power and control signals up to 100m, with power supplied remotely by the receiver via PoE. The HDVS-210H-TX-WP pairs with the UHD-EX-100CE-RX-PSE receiver, HDVS series of receivers and scalers, and HDBaseTequipped switchers such as the CLSO Series.

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HDVS-210H-TX-WP Meanwhile, the HDVS-SC-RX is the manufacturer’s ﬁrst HDBaseT receiver to incorporate its

HDVS-SC-RX

CrystalScale Technology (ACT). The HDVS-SC-RX has many of the features from its 1080p-only predecessor, the HDVS-200RX, including image adjustment capability, audio de-embedding and the ability to match incoming signals to the display’s native resolution. ACT is a core signal processing engine that reportedly optimises image quality and switching per formance. It supports mirror/ﬂip and 90° image rotation, motion-adaptive video de-interlacing, 3:2 pulldown, aspect ratio control and internal test pattern generation. The receiver also has a second HDMI input, allowing additional content from a local computer or wireless base. www.atlona.com

Round the bend THE TG4 from Telemetrics is the latest member of the TeleGlide family of camera track systems that has been designed for applications that require a curved track. The TG4 features a streamlined trolley and track said to minimise space requirements and is fully servo controlled, reportedly providing accurate preset positioning and repeatable motion. The track is constructed of lightweight aluminium components and can be ﬂoor or ceiling mounted. The composite wheels reportedly provide smooth transitions between track sections and

the system can be conﬁgured in straight, C-, S- or L-shaped tracks. The TG4 is compatible with all Telemetrics pan/tilt heads, extendable camera mounts, telescoping camera mounts and control systems. www.telemetricsinc.com

Sony rides the Sonic Surf SONY’S SONIC Surf VR is described as a suite of audio technology combined with newly designed multichannel speakers and specially developed software that enables creators to simulate popping, moving and partitioning sounds in one space via a software application. This results in an interactive space where sounds appear to move around by themselves, says Sony. Sonic Surf VR is intended for applications such as theme

be available in various durations to enable ﬂexible operations. On the visual side, Sony has released the ZRCT-200 controller with HDMI and DisplayPort interfaces that support HDR signals. This is complemented by the introduction of a new Colour Management solution that is able to reproduce the same colour among high-grade displays, reducing the time required to adjust colour settings across multiple display devices.

Sonic Surf VR parks, special events, exhibitions, museums, aquariums and corporate showrooms with digital signage. The manufacturer states that ‘Sonic Surf VR is the industry’s ﬁrst packaged solution offering a new type of VR from an audio perspective, enabling multiple numbers of people to enjoy simultaneously without headphones’. The solution is scalable, depending on the size of a project, and software licences will

Sony has also been busy with the launch of ﬁve new projectors: the VPL-FHZ120L, VPL-FHZ90L, VPLFHZ66, VPL-FHZ61 and VPL-FHZ58. At 12,000 lumens, the VPL-FHZ120L is Sony’s highest brightness installation projector and is intended for use in large venues. The rest are aimed at mid-sized classroom applications. pro.sony.com

J8 EVOX J8

ACTIVE TWO-WAY PORTABLE ARRAY

BE AMAZED! The RCF J8 features a line source satellite module with eight 2” full-range drivers paired with a high-powered 12” woofer in a bass reﬂex enclosure. All powered by on-board 1400W Class-D ampliﬁcation. The EVOX J Series maintains a similar footprint to the original EVOX systems, now in a portable composite enclosure. The system offers stunning sound performance with crystal-clear vocal reproduction and unparalleled musical response. Also available in white.

• • • • •

128 dB Max SPL 1400 Watt 2-way peak power DSP Processing with FiRPHASE 12” woofer, high power 2.5” voice coil 8 x 2” ultra compact fullrange 1.0” voice coil

www.rcf.it

PRODUCTS

Cool white light

Customising the matrix WYRESTORM IS describing its H2XC series as the ‘only multi-I/O audiovisual matrix device capable of delivering full-bandwidth 18Gbps HDMI content over both copper and optical transmission mediums whilst handling up to 48 discrete audio source devices to 16 DSPmanaged audio zones’. Based on the H2X, the H2XC is said to offer more options for the distribution of multi-source 4K UHD with HDR and legacy video formats, as well as multisource audio matrix switching to multiple zones. The H2XC features a choice of a 10- or 16-way H2X chassis populated by a custom selection of six multi-format transmission cards. It includes the manufacturer’s SmartEDID technology to remove conﬂicts when combining 1080p and 4K screens within the same installation. In addition to this, it has an integrated audio matrix with DSP capable of routing up to three separate audio signals per transmission card (depending on card model), including ARC, HDMI de-embed from video and separate line-level, audio-only sources. In

H2XC series modular matrix switcher terms of the cards, the TX-H2XHDMI offers 4K HDR with multiple audio options to 70m or 1080p to 140m. Connectivity includes HDMI in, HDBaseT Class-A and mirrored HDMI out, S/PDIF audio in, S/PDIF and analogue stereo audio out and IR to zone for source control. The TX-H2X-HDBT card offers the same connectivity, swapping the HDMI input for a Class-A HDBaseT input. The TX-H2X-VDZ offers HDBaseT in, HDBaseT and mirrored HDMI out and IR to zone, while the TX-H2X-ADZ features HDMI in and out alongside S/PDIF audio in, S/PDIF and analogue stereo audio out. The ﬁnal two, TX-H2X-VLC and TX-H2X-OM3, support 18Gbps transmissions of 2160p 60Hz 4:4:4 and 2160p 60Hz 4:2:2 with 12-bit HDR. The

TX-H2X-VLC features HDBaseT Class-A transmission to 70m while the TX-H2X-OM3 instead offers transmission over multi-mode ﬁbre up to 300m. Both cards also include HDMI in, mirrored HDMI out, S/PDIF audio in, S/PDIF and analogue stereo audio out and IR to zone. In related news, the manufacturer has also updated

its extender line. The EX-35-H2 and EX-35-H2-ARC extender models support 18Gbps HDMI for 4K UHD 60Hz 4:4:4 or 4K UHD 60Hz 4:2:2 with 12-bit HDR over Class-B HDBaseT to 35m or 1080p to 70m. The EX-35-H2-ARC also adds audio return functionality. Version two of WyreStorm’s EX-70-H2X HDBaseT 5Play extender adds HDMI source loop out to cascade transmissions up to three times to compatible HDBaseT and NetworkHD A/V over IP devices. Finally, the EXF-300-H2 HDMI over ﬁbre extender supports 18Gbps HDMI transmissions up to 4K UHD 60Hz 4:4:4 or 4K UHD 60Hz 4:2:2 with 12-bit HDR to 300m. www.wyrestorm.com

Ovation SP-300CW

diffused illuminating surface and a high-CRI tunable white light in a compact size together with a full RGB lighting system. The 4-channel interface provides control locally via a graphical control panel, through traditional wired DMX or with the Integrated LumenRadio CRMX bidirectional wireless DMX/RDM control.

THEATRES, CHURCHES and other mid-sized venues are the target audience for Chauvet’s Ovation SP-300CW, a follow spot powered by a 260W, 5,500K cool white LED engine that offers a 10° to 20° zoom. The light features a fully closeable iris to allow more precise lighting control, onboard linear dimming, manual sliders for zoom and a focus that optimises its spotlight for throw distances of 15m to 30m. The 6-slot manual boomerang in front of the light source allows users to add gels for quick colour changes. The 2,300Hz PWM frequency reportedly results in ﬂicker-free operation for video applications, while the light provides an illuminance rating from 7,330 to 17,296 lux at 5m depending on the zoom angle.

www.cineolighting.com

www.chauvetprofessional.com

WyreStorm’s upgraded extenders

Cineo’s S410 offers more for less WITH A 25,000-lumen output in a chassis weighing 12kg, Cineo Lighting’s latest Standard 410 for motion picture, television and episodic lighting is described by the company as being substantially lower in price than other ﬁxtures in its class. The S410 has been especially designed for lighting talent, sets and creating saturated colour effects. It has a 30cm x 60cm

The Standard 410, front and back

Video Over IP Solu ons

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+61 2 8011 0500 info@tm-systems.com.au www.tm-systems.com.au

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PRODUCTS

ETC takes control ETC HAS added three control systems to its stable of architectural lighting solutions. First, the company has upgraded its Unison Paradigm control system to version 4.0. Unison Paradigm fuses advances in architectural lighting control with entertainment lighting control technology. Described as a green-minded energy management system, Unison Paradigm reportedly capitalises on daylight harvesting, occupancy sensing and time schedules for ‘maximum electricity and budget savings’. Version 4.0

A classic goes LED

to offer ﬂexible, intelligent and scalable control. The system allows users to turn lights on and off, and manage multiple presets, daylighting and occupancy controls for energy savings, the hue, saturation and intensity of colourchanging LED luminaires. Finally, Unison Mosaic is a control solution that allows users to merge show control, LEDs, moving lights and media effects into a single work of art.

features energy management monitoring and display, colour control support for conversion to RGBA and RGBW, and Paradigm Inspire support in LightDesigner. Second, Unison Echo is said

Echo stations

The Paradigm family

eASY to configure

www.etcconnect.com

eASY

eASY to manage...

to pilot!

FIILEX HAS updated its P360 lighting fixture for the LED generation with the release of the P360 Classic. The P360 Classic brings several new features and is compatible with a wide range of the manufacturer’s existing accessories. Its design has been slightly modified from the original P360. The P360 Classic is reportedly capable of dimming to its lowest power settings without any flickering or colour shifts. It is built to maintain ‘extremely accurate colour’ throughout its extended CCT range. The LED element is significantly brighter than previous P360 fixtures, yet draws on the same amount of power at 90W. An extended yoke and spigot enable users of the P360 Classic to manipulate the softbox and Fresnel attachments with greater ease than past P360 models, while a new accessory lock keeps them secure. Existing Fiilex accessories that are compatible include diffusers and gel holders, larger softboxes and the 5-inch Zoom Fresnel attachment that is said to increase beam intensity by up to 800%. Making use of the manufacturer’s Dense Matrix LED array, combining multiple custom-manufactured LED chips within a single glass optic, the P360 Classic has a compact form factor, better facilitating portability along with various optional travel kits.

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eMIMO1616 Digital Matrix - It does not need an external or an additional software. - You can configure it from your PC/Tablet/Smartphone. - Minimal, intuitive and elegant layout. - You can manage it remotely from different locations. www.ecler.com

www.ﬁilex.com

May–June 2018 PRO AVL ASIA 95

PRODUCTS

Elation steps outside ELATION’S ARENA series of RGBW PAR lights is stepping outside with the addition of the IP65-rated Arena Zoom Q7 IP. Designed as a key light, front light or as a general light on indoor or outdoor stages, the Arena Zoom Q7 IP is a full-colour mixing wash luminaire that can also fit into a standard 12-inch truss, making it suitable as a truss warmer/highlighter. The luminaire houses seven 30W Osram Quad-Color RGBW LEDs that give a selection of saturated colour options including a genuine white, while a choice of colour macros and variable speed macros reportedly enable fast programming. The luminaire features a ‘bright and well-defined beam’, and the colour temperature is from 3,200K to 10,000K. The fixture also includes RGB white balance calibration, allowing users to adjust the

Arena Zoom Q7 IP maximum RGB values in order to set the white colour temperature default level. Further features include a 7° to 40° motorised zoom, over 3,000 lumens of output and a total maximum power consumption of

250W. The luminaire is controllable via six DMX channel modes (12 total channels) and is Remote Device Management ready. An auto-sensing power supply covers worldwide voltages and frequencies. Elation has also added three lighting control products. 4Cast DMX Bridge is a compact 4-universe wireless device that bridges Wi-Fi, Art-Net, sACN and E-FLY (Elation’s wireless DMX solution) signals to wirelessly control compatible DMX devices. The 4Cast DMX Bridge creates a private,

4Cast DMX bridge standalone 2.4GHz DSSS (Direct Sequence Spread Spectrum) Wi-Fi network, which coexists in busy RF environments alongside other wireless technologies. eNode2 POE is a compact 2-universe Ethernet-DMX node powered over Ethernet that

The IPC415 DMX power control centre

supports Art-Net compatible DMX control systems using a single RJ-45 auto-switching 10/100Mbps Neutrik etherCON input and two multi-conﬁguration 5-pin Neutrik DMX data outputs. Features include DMX bilateral conversion support, a 4-button control panel, an OLED system menu display and three LED status indicators. Finally, the IPC415 is a DMX power control centre featuring four powerCON outputs (15A maximum each), four 5-pin XLR DMX outputs, one 5-pin XLR DMX input and one 5-pin XLR DMX thruput. The IPC415 can be mounted in a standard 19-inch rack space using the included rack ears, or truss mounted using a clamp (not included) attached to the M10 rigging point in the centre of the unit. It includes a multi-voltage universal auto-switching power supply. www.elationlighting.com

Anolis illuminates the outdoors DESIGNED FOR highlighting or outlining buildings and other objects with video and media-style effects, ArcLine Outdoor Direct View Pixel from Anolis is available in a variety of lengths that are reportedly quick to daisy-chain. The light incorporates an RGB multichip and the company’s colour mixing is said to produce a rich array of colours and streamlined transitions. ArcPix, meanwhile, is a compact RGB LED multichip node reportedly offering versatility and scope to create kinetic and

Anolis ArcLine DVP 1 without diffuser

Anolis ArcPix visual effects both outdoors and indoors. The light incorporates

Compact control from Stadium Wing THE NEW MagicQ Stadium Wing from ChamSys has been developed to meet the expectations of lighting designers in providing high-level show control from a compact package. With its display capable of connecting directly to the DVI output of any MagicQ MQ500 or MagicQ MQ80 consoles, any MagicQ Window can be transferred to the display on the Stadium Wing, which also features 30 playbacks, four execute encoders and a full HD multi-touch display with adjustable viewing angle and gesture support. Furthermore, the manufacturer states that the 30 playbacks are pageable as 15 fader playbacks

96 PRO AVL ASIA May–June 2018

and 15 execute playbacks, while the four execute encoders are multipurpose and can be assigned functions from the Execute and other MagicQ Windows. The unit also houses four DMX outputs. secure.chamsys.co.uk

plug-and-play electronics and a variety of mapping and media

effects. According to Anolis, a single power supply can power hundreds of ArcPix units, while the moulded polycarbonate casing and IP67 rating make the products suitable ‘for more challenging outdoor

installations’. The ﬁnal product launch from Anolis is ArcDot, designed for all sizes of pixel matrix designs. Its multichip LED and colour matching are said to provide a rich array of hues. The light has been developed for both interior and exterior operation thanks to its aluminium housing with a frosted, UV stable, polycarbonate dome and IP67 rating. www.anolis.eu

LynTec extends control beyond the rack AN OUTBOUND relay (O/R) control option has been added to LynTec’s Networkable Power Automation Control (NPAC) rackmounted system which allows users to control external devices equipped with contact closures as part of their AVL control platform. Available as a factory option for new NPAC systems – as a replacement for the DMX In and Out connections – the optional O/R feature adds two single-pole, double-throw, 2A, low-voltage relays for independent control of external devices. The NPAC GUI can be used to conﬁgure the contacts for individual or merged functions with latched or momentary operation. NPAC itself is a 2U power management solution that incorporates power control and audio sequencing and can manage up to 80A. The NPAC series includes

An outbound relay option has been added to NPAC four models – 120V or 240V – and features four 20A circuit inputs, with four or eight relays. Circuits can ﬁre in any order required, even from unit to unit, with no extra wiring required as long as each NPAC is connected to the network. Outlets can be controlled individually or as a sequenced group with up to 12 zones across 10 units. The unit offers pre-terminated cables and four NEMA 5-20 outlets (6-20

outlets for the 240V model). From the controller’s embedded web server, the user can select the appropriate over- and under-voltage protection and auto shutdown for each circuit. The system also includes circuit-selectable loadshedding for emergency shutoff and an onboard astronomical timer for automated operation. www.lyntec.com

When Audio is Everything

Discover Intuitive Audio with the New Compact CDC five, the Enhanced CDC six and Flagship CDC seven-s

Intuitive Operation 23.5” optically bonded touch screen displays the exceptionally intuitive “high agility” graphical user interface.

Up to 128 Inputs / 64 Busses With up to 62 configurable busses assignable as Group, Stereo Group, Aux, Stereo Aux or Matrix.

Untouchable Latency Less than 0.4 millisecond from input to output including fully automatic 3 stage latency management to ensure phase coherency.

Cadac Holdings Ltd. One New Street, Luton. Bedfordshire. LU1 5DX. England. UK Head Office Tel: +44 1582 404202 US Sales Tel: +1 973 512 8511 cadac-sound.com

Custom Fader Layers User definable layers, or groups, of any mixture of inputs, busses, VCAs and Monitor faders.

Monitor Mode Allows single touch access to up to 62 assignable busses and their respective contribution channels in ‘Sends on Fader’ mode. Plus additional “Mix Focus” and “Bus VCA” modes.

FEATURES: INSTALLATION

Star performance The Star at Singapore’s Buona Vista includes a 5,000-seat theatre

Head of audio Reuben Ong with a Bolero beltpack

Two AES67 cards inserted into the existing Artist frames

Individual beltpacks are assigned an ID before logging onto the network

The Star Performing Arts Centre in Singapore has installed Riedel Bolero solutions to increase ease of communication across the venue. Richard Lawn reports THE TITANIUM AND GLASS STRUCTURE KNOWN AS THE Star has upgraded its internal communications systems. The 5,000-seat theatre is the centrepiece of the arts centre, which opened to much acclaim in 2012. However, the complex also boasts a 770-seat function hall, a 300-seat outdoor amphitheatre, supporting rooms and a rooftop function space. The sheer scale alone severely tests communications for both FOH and BOH operators. Riedel Artist 64 and 128 intercom solutions have operated over the modular matrix mainframe network infrastructure for the past six years. Originally supplied and installed by Electronics & Engineering (E&E), up to 128 ports are accommodated in a single frame with up to 100 frames connected to a redundant dual ﬁbre-optic ring to create a 1,024 x 1,024 port intercom matrix. Additionally, another brand of digital wireless intercom system was provided for live performances in the main theatre. ‘Despite the fact that our existing system has been functioning very well, I agreed to a Bolero demonstration when offered,’ comments The Star PAC’s head of audio, Reuben Ong. ‘We are fairly open minded to the introduction of new technology and ultimately Bolero proved to be a revelation.’ Initially, Bolero was tested as a standalone comms system as the AES67 card wasn’t ready at the time of the demo. ‘Although it wasn’t show-ready, we could put the expandable, full-roaming, DECT-based intercom through its paces,’ continues Mr Ong. Operating in the 1.9GHz frequency range, Mr Ong and his technical staff particularly liked the fact that it could function not only as a wireless beltpack or keypanel, but additionally as a walkie-talkie radio. Impressed, The Star PAC requested a second demonstration and this time interfaced Bolero to the main network by adding just two AES67 cards to the rear of the existing Artist 64 and 128 intercom panel frames. ‘BOH intercoms were not included as part of the original design but, over time, an increasing number of operators were making such requests,’ says Mr Ong. Once programmed, the panels were interfaced to the AES67 switches via Cat-6 cabling, which was routed by E&E to the lower control room, the stage and BOH corridors. ‘The only drawback in the whole setup came when we tried to connect the Bolero system to the Cisco network switch. Ultimately, we had to dispense with the linear infrastructure

98 PRO AVL ASIA May–June 2018

One antenna serves up to 10 beltpacks via the NFC using three switches via the SFP and adopt a ring topology to ensure there were no bandwidth issues.’ The incorporation of Riedel’s Advanced DECT Receiver (ADR) technology reduces sensitivity to multipath RF reflections, making the system useable in challenging RF environments. ‘We tested the Bolero transmitters in all the BOH areas and, with the exception of the elevators, it demonstrated a stronger signal with more range and the ability to penetrate thick concrete walls.’ With the switches now configured, the 24 PoE (power over Ethernet) Bolero headsets and beltpacks can be deployed anywhere. ‘Once assigned an ID, operators simply log their beltpacks onto the network via decentralised antennas. Registration has been simplified through the adoption of Near Field Communication (NFC) technology into both the beltpack and the active antenna. As a result, operators only need to touch the beltpack onto the antenna to complete the registration process. It’s a fully integrated, point-to-point intercom ecosystem with seamless roaming capabilities.’ While providing exceptional latency characteristics, the high-clarity voice codec has reportedly improved speech

intelligibility and allowed a more efficient use of the RF spectrum, supporting twice the number of beltpacks per antenna on the same audio bandwidth. ‘In our trials, Bolero proved to be very efficient with processing power, providing excellent beltpack battery life, while saving DSP power for other functions.’ Equipped with six buttons for each of the intercom channels together with a separate Reply button, the beltpack facilitates a reply to the last channel called. ‘Production coordinators from incoming technical crews can easily liaise with their FOH staff now. Prior to Bolero, crew members had to wear a headset and use a walkie-talkie, but now it has been programmed to integrate together. Even the mobile phones are linked to Bolero via Bluetooth 4.1 connectivity.’ The increased channel capacity ensures that one antenna serves up to 10 beltpacks. Previously, these were patched in but now they are registered to the network via a proprietary cable. ‘It has been a very smooth transition for the operators here at The Star PAC as they were already familiar with the Riedel Artist mainframe software. Not only do we possess more channels than before, but it is possible to tap into the full capacity of the matrix using the drag-anddrop software on a PC.’ Settings have been applied for the church services that take place on Sundays, while concert events are benefitting from streamlined productions by the ability to digitally transfer their personalised show files to Bolero. ‘Depending on the equipment being used, we normally look at upgrades every five to 10 years,’ says Mr Ong. ‘However, with increasing IT convergence and ground-breaking technological developments, The Star PAC is having to assess its operations much more frequently. Of course, firmware upgrades help as they continue to add increased functionality based on end user feedback. Manufacturers can much more easily troubleshoot problems by adding features.’ It’s to be hoped that the feedback is positive as The Star PAC continues to present its diverse entertainment programme, keeping everyone in contact via the new Riedel Bolero systems as the shows go on. www.riedel.net www.thestar.sg

Industry’s finest. See, hear and demo Antelope’s best pro audio products at two major shows in Asia

Antelope Audio is a professional audio equipment manufacturer with over 20 years of experience in digital and analog audio technologies. The company is designing advanced yet affordable audio interfaces; the industry’s finest master clocks and premium FPGA FX. Among its latest endeavors find a collection of vintage mic emulations, interfaces with discrete preamps and modeling microphones. Among the customers and brand ambassadors of Antelope Audio you’ll find Grammy award-winning sound engineers, world-famous artists, pop icons and some of the most renowned audio studios in the world.

Meet us at ProLight + Sound Guangzhou 10 – 13 May Hall 5.2, Booth H10

PALM Expo Mumbai 31 May – 2 June Hall 1, Booth E90

antelopeaudio.com

FEATURES: INSTALLATION

Fever pitch

The Seiko scoreboard is located at the north of GBK

HS-1200BT coaxial speakers provide under-balcony ﬁlls

Indonesia’s Gelora Bung Karno National Stadium has been equipped with TOA systems in preparation for the 2018 Asian Games. Richard Lawn reports WITH THE EXCEPTION OF GOAL ANNOUNCEMENTS, passionate football spectators are normally too busy singing, cheering, shouting and groaning during matches to pay significant attention to the PA system. Indeed, many announcements are simply drowned out by the collective volume emitting from the stands. However, all modern football stadia need to be equipped with a compliant PA system should the worst happen and an evacuation be required. Enhancing the spectators’ experience is optional, but intelligibility remains critical for safe exiting. Following a fleeting appearance at the 1938 World Cup finals in France, Indonesia hasn’t competed at the tournament since. However, the capital’s Gelora Bung Karno National Stadium (GBK) is worthy of staging a grand finale. It was one of the biggest in the world with a capacity of 110,000 when it first opened in 1962, characterised by a huge steel roof construction forming a gigantic temu gelang (joined ring). In addition to shading the spectators from the heat of the tropical sun, this ring was designed to emphasise the stadium’s grandeur. And although GBK’s capacity has since been reduced, its commanding presence within extensive grounds will be vibrant with activity in August when it becomes the centrepiece of the 2018 Asian Games. In order to enhance the spectator experience for the prestigious event, an upgrade required GBK to close in 2016. The Indonesian government appointed French architect Frederich Silaban to help redeliver a world-class venue. The stadium is divided into 24 sectors with 12 entrances together with upper and lower stands. Rows of previously connected seats were replaced by 76,127 individual ones. Additionally, the back of house (BOH) area has been equipped with 172 toilets and four Muslim prayer rooms (Musholla) in each of the corners, and, for the first time in its history, GBK can accommodate the needs of disabled users. Powered by 1,293 newly installed solar panels on the roof, 640 Panasonic LED lamps constituting a 3,500-lux lighting system emit three times more illumination than before. Working closely with general contractor PT Adhi Karya (Persero) and architectural consultant PT Penta Rekayasa

100 PRO AVL ASIA May–June 2018

The newly refurbished GBK stadium has a 76,127-seat capacity Kerjasama Operasi (KSO), systems contractor PT Elsiscom Prima Karya was called upon to supply and install an extensive TOA audio system throughout GBK. Commencing in July 2017, the GBK refurbishment was always going to stretch manpower and resources if the system was to be

The PT Elsiscom Prima Karya team

successfully commissioned prior to the opening ceremony. ‘We wanted to set a new standard here in Indonesia,’ explains PT Elsiscom Prima Karya’s assistant director, Felix D Kristianto. ‘The stadium is huge, so we wanted to ensure that the resultant speaker systems are fully reliable, save energy and can be remotely managed and controlled.’ Focus was concentrated within three main control rooms: one on the lower level where the Fire Control Centre (FCC) and CCTV are combined and two third-level (floor 3) electrical rooms. Located in the main east control room on floor 3 is a Yamaha CL5 digital console receiving inputs and outputs via two Rio3224-D I/O racks, one of which is located in the west control room. A Dante network is enabled as the east and west electrical rooms are connected via fibre optic cabling. Although GBK’s audio renovation has been redesigned for clearer public announcements and safety evacuation using an RM-200 remote mic, the CL5’s presence provides much more. The Rio3224-D rack also receives 12 Sennheiser ew 300 wireless channel inputs in addition to playback signals from a TOA Z-CD2011R CD/USB/SD card player with tuner,

FEATURES: INSTALLATION ‘The sheer size of this stadium provided us with plenty of challenges,’ says PR Elsiscom Prima Karya project manager, Danil Trihandayanto. ‘Luckily we could hoist the cluster arrays with a chain pulley into position under the roof from a catwalk where cabling had been routed in advance.’ A combination of Canare 4F11 81 and 2S11 100V line loudspeaker cabling connects all the clusters, coaxials and ceiling speakers to the amp racks in the three control rooms. The Dante network created from the Yamaha CL5 console and Rio3224-D racks to the DP-SP3 processors can be analysed in the TOA software installed into the control room PC.

12 channels of ew 300 Sennheiser wireless receivers

An upper-level SC-61 cluster array and SR-C15 subwoofer

The lower-level CCTV control room also serves as the FCC the FCC, the Seiko LED scoreboard and a Roland V8 video mixer. It is also linked to the Panasonic lighting system, providing synchronised audio and lighting displays. Both east and west electrical rooms host 27 TOA DA250F 4-channel amplifiers together with eight DP-SP3 digital processors. Two spare models have also been racked, allowing one of them to cut in should a failure be detected. The digital output signals received in the DP-SP3 processors via Cat-5 cabling from the Rio3224-D racks are further modified using a library of presets for the various TOA speaker models. Individual EQ, crossover, matrix, compressor and delay configurations can be digitally applied in the V2.0.0 software. The resultant speaker system was designed following extensive EASE 4.2 simulations. Unfortunately, the original design of the SC Series submitted by PT Elsiscom Prima Karya had to be downsized owing to the weight restriction imposed by the roof’s extensive lighting and solar panels. This ultimately led to a division between those seats requiring their SPLs to be directed from a more powerful 81 system and those less remote seats benefitting from a 100V line solution. The floor 5 upper-level seats are catered to by various SC Series cluster array configurations. Previously existing Ramsa cabinets were initially removed before the new TOA models were installed in newly configured locations. Suspended from

the lip of the 60m roof, 25 of these combine eight SC Series speakers with a single 450W SR-C15 15-inch subwoofer. Firing into the stadium seating closer to the pitch in addition to the field of play, two SC Series clusters require power from all 12 channels provided by three DA-250F amplifiers. Coverage for the floor 5 seats located furthest from the pitch are catered to by a further 24 SC Series wall-mounted modules alternating between one and two speaker versions equally spaced around the perimeter. Affixed to the under-balcony areas on floor 3, a 100V line system consisting of 92 HS-1200BT 12-inch coaxial speakers provides uniform SPLs and low frequencies down to 70Hz. The more peripheral seats towards the pitch receive their audio from smaller five module SC Series/SR-C15 subwoofer clusters. The corporate boxes and VIP rooms have been installed with ZS-1030B and SR-F05 5-inch cabinets. The BOH zones combine 693 ZS-2369 6-inch ceiling speakers along the long corridors, a further 217 ZS-1030B universal bassreflex speakers and four ZS-202C columns. Coverage as the arriving spectators make their way through the gardens is via 32 pole-mounted ZH-652M horn speakers. As the FCC is equipped with a TOA M-9000 digital mixer and Z-CD2011R player, separate audio can be streamed to the grounds and BOH zones. However, the FV-200 emergency PA system with its mic receiver remains the priority. The electrical infrastructure in this rack is different from the floor 3 electrical room, allowing it to override the main PA system. When connected to the LAN, the N-8000AF audio interface unit provides time synchronisation, recordings of conversations, chime broadcasts at regular intervals and paging broadcasts. A total of 10 FS-7012PA power amplifiers and seven DA-500FH power amplifiers power the mix of BOH speakers.

27 TOA DA-250F ampliﬁers in use While many modern-day stadia attempt to beckon live performance artists and non-sporting entertainers to their venues by installing more powerful PA systems, GBK sticks to what it does best. ‘GBK has hosted the likes of Deep Purple, Metallica and One Direction here to perform in the past and further acts will come in the future,’ explains Mr Kristianto. ‘This is a world-class facility where acts can rent in a powerful loudspeaker system that will cater for their show or event. However, a PA exists for one reason – vocal intelligibility. To market it otherwise would be false.’ Music may invoke passion, but a PA system can stir emotions. When GBK reopened on 14 January for Indonesia’s friendly international football game against Iceland, it provoked a response from President Joko Widodo. ‘The singing of the national anthem during the opening ceremony was dramatic – GBK’s sound is better than ever,’ he commented on his Facebook page. www.gbk.id www.toa.co.id www.toa.com.sg

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FEATURES: BROADCAST

Real-world radio

One of Singapore’s leading polytechnics has doubled the count of Lawo consoles at its radio training facility. Caroline Moss reports from Temasek

Students present a live broadcast

Lawo’s Boon Siong Tan and Temasek Polytechnic’s Mohamed Raﬁe Bin Hambali

TEMASEK POLYTECHNIC HAS THE DISTINCTION OF BEING one of the ﬁrst polytechnics to open in Singapore. It opened its doors in 1990, admitting an initial 735 pupils wishing to further their academic studies in ﬁelds including humanities and social science, or choose a vocational path such as design, engineering and applied science. In 1995, the polytechnic moved to a permanent location in Tampines, and today it has grown from that initial intake to a full-time student population of approximately 15,000, with more than 1,200 academic and administrative staff. Lawo was recently called upon to upgrade the technology in one of the college’s radio studios, Radio One. While the rest of the studio setup was to remain unchanged, Temasek Polytechnic felt it was time to upgrade the consoles. ‘Their requirements were similar to what they needed last time they upgraded the consoles in this studio – around 10 years ago – but they wanted something newer and more modern,’ explains Lawo sales director, South East Asia, Boon Siong Tan. The polytechnic already has Lawo Zirkon and Crystal consoles installed in Radio Two, a large 2-room studio used for classes and lectures, so it was familiar with the brand. This time, it was proposed to install a Sapphire and a Crystal into the smaller Radio One facility.

The new Sapphire console in Radio One’s Studio A was put into immediate full-time use by the students, broadcasting live across the campus on the college’s radio station, MediaBiz Radio. Meanwhile, the smaller Lawo Crystal is being used next door in Studio B for programme production and newsreading. The radio studios are used extensively by the students from Temasek Polytechnic’s Communications and Media Management (CMM) diploma course at the School of Business. Students take turns to present live 3-hour shows that go out daily from 9am to 6pm. Some of the shows are also prerecorded by students. After the morning breakfast show from 9am to midday, there are shows covering campus news, food, trending tweets and stories from around the world. ‘MediaBiz Radio is run entirely by the students on our course,’ explains Le En Tan, who is enrolled on the CMM course and was manning the Sapphire the day that Pro AVL Asia visited. ‘During the day we broadcast live but, as it’s a 24-hour station, we go to prerecorded content and music after 6pm.’ As Ms Tan was used to the Lawo technology in Radio Two, she found it a straightforward transition to move onto the Sapphire. ‘It was quite easy to learn how to use it, and it’s an improvement over the last console installed in this studio; it’s a bit easier to use,’ she says. ‘With the Sapphire, the controls are very clearly set out. I’m looking to be a technician working “behind the scenes” when I finish college, and I hope that we will find this kind of equipment in the real world.’ The polytechnic staff are equally appreciative of the new technology. ‘The Lawo consoles are very good; there’s a lot of flexibility and you can assign anything anywhere,’ says Mohamed Rafie Bin Hambali, technical support officer at the School of Business. ‘The studios are standalone, though everything is linked via the software, so you could use any of the studios for anything. We can swap them around from being a teaching studio to an on-air studio and vice versa if we needed to. The software is very flexible. Now that we have Lawos in both studios in Radio One and Radio Two, we can switch over between them, so that’s provided us a great deal of flexibility. It allows for more efficient use of the studios.’

Lawo Zirkon in the school’s classroom studio

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Lawo Crystal in the college’s Radio One facility ‘We have installed quite a few of the other universities and colleges in Singapore, including Ngee Ann Polytechnic and the Institute of Technical Education, with Lawo consoles,’ says Mr Tan. ‘Lawo is becoming a console of choice for education. We make sure we give good support and backup to our clients, and this is what they are looking for. They know the brand already, so they also know that we are good at communicating and flexible with training, giving as much as is required. ‘Apart from their own consoles, they’ve also seen Lawo out there in the real world, and felt the Sapphire could offer the flexibility and user friendliness they wanted,’ he continues. ‘It would allow the students to do what they would do in a commercial studio. They put it out to tender but they had their own stringent criteria when it came to pricing and performance, and Lawo won out.’ The polytechnic also liked the fact that the consoles could be tailored exactly to its requirements, with screens that can be configured by the students so they can work in a way that suits their individual needs. The tender to supply, install and commission the project was won by Broadcast Communications International (BCI), Lawo’s distributor in Singapore. ‘We support BCI directly, helping them to be very efficient in providing a fully synergised solution and pre- and post-sales support,’ says Mr Tan.

www.bci.com.sg www.lawo.com

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FEATURES: INSTALLATION

Ahead of the curve

China’s last building to be designed by Zaha Hadid has opened in Hunan Province. Sue Su visits Changsha Meixi Lake International Culture and Arts Centre

MYC China’s Qin Yi

Museum building

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FAMOUS FOR THE GRAND SCALE OF HER PROJECTS AND shape of the iconic buildings that won her the nickname ‘Queen of the Curve’, Iraqi–British nationality Zaha Hadid was a great loss to the world of architecture following her untimely death in March 2016. However, the legacy of the Pritzker Architecture Prize winner lives on, most recently in her last project in China, where she worked extensively. The RMB 2.8 billion Changsha Meixi Lake International Culture and Arts Centre in Changsha City, capital of Hunan Province, joins a series of Ms Hadid’s landmark works in cities across the country. Incorporating a 1,800-seat grand theatre, a smaller 500-seat theatre and a contemporary art museum with nine halls, the venue takes Ms Hadid’s famous curves to a new level. The three structures emulate the flower for which Changsha is famous – the cotton rose – each representing a different blossom that has fallen from the nearby Mount Yuelu. Ms Hadid’s style isn’t for everyone but, standing in front of the Meixi Lake International Culture and Arts Centre, it’s hard not to be impressed by the huge white complex, its ribbon-like curves flowing through each building and extending into the glittering interiors of the venues. But style isn’t everything; the centre is also targeted to be one of the nation’s largest world-class arts venues, providing the most comprehensive functionality possible. Accordingly, the centre’s owners carried out extensive research into the technology it was to install, opting for Kling & Freitag systems sourced from local distributor, Shanghai MYC Electro-sound Equipment. This is not the first time MYC China has been involved in a Zaha Hadid-related project; the company also provided solutions for the Nanjing Youth Olympic Centre designed by Ms Hadid herself, as well as the Harbin Grand Theatre by Beijing’s MAD architectural practice, owned by Ma Yansong who worked for her in London. The owners visited both of these during their investigation, and both left a deep impression. Inside the grand theatre, three levels enfolded in gentle undulations accommodate the audience. In order not to destroy the lines of the building, spaces for speaker installation were thought out and provided in advance, with all speakers concealed behind acoustically transparent cloth. An

acoustic shell has also been provided to cater for the needs of different types of performance. The main system is an L-C-R configuration consisting of 12 Kling & Freitag Sequenza 10W line array speakers with waveguide, flown left and right, while a further eight form the centre channel. Four Access B10s are stacked on the left and right of the stage to boost the low frequencies. There is also a portable subwoofer system of eight Nomo XLS subs. Fifteen Sona 5 speakers are installed inside the stage lip to cover the edge of the stage and orchestra pit, a Gravis 12+ W speaker on each side of the stage provides side-fill and 15 Sona 8s form the back-fill and balcony-fill system. The theatre has also been installed with a large quantity of effects speakers, including 44 Gravis 8 W placed around the auditorium for surround effects, with 12 Gravis 12+ W installed on the ceiling for overhead effects, as well as four CA 1215-9s and four CA 1516-6s as portable effects speakers. A total of 16 CA 1515-6s are also being used as monitor speakers. ‘We have been using more and more Kling & Freitag in recent years,’ says Lu Xiang, technical director of Meixi Lake International Culture and Arts Centre, who is employed by the Poly Theatre Management Company, which oversees the building. ‘The mid and high ranges are subtle, with very good reproduction. We have been using the system for four or five months now and it has been good in terms of sound quality and stability.’ All speakers are driven and managed by Kling & Freitag’s D 80:4 and D 200:4 DSP amplifiers, which together offer Dante, AES/EBU and analogue capabilities, providing the system with powerful backup and flexible speaker control options. ‘Not so many theatres use Dante in China yet,’ says QinYi, vice technical director of MYC China. ‘We gained a lot of experience in using Dante at the Harbin Grand Theatre though, and put that experience to use here.’ All the signals are sent from the stage and audience area through the D 80:4 and D 200:4 boxes to the main PA and monitor systems via a Stage Tec Nexus Star audio routing system located in the central control room on the first floor, then routed to a Nexus stagebox and then on to a pair of

FEATURES: INSTALLATION mirrored Stage Tec Crescendo consoles in the PA control room on the second floor. Signals are then distributed to a further two Nexus stageboxes located in two amplifier control rooms on the fourth floor that feed AES/EBU, analogue and Dante signals to the 33 D80:4 and D 200:4 amplifiers. ‘We have a Dante card in each of the amplifier control rooms,’ explains Mr Qin. ‘These distribute main and backup Dante signals from the stagebox via a Cisco switch to the amplifier. This gives us a 4-way hot-backup comprising a Dante main, Dante backup, AES digital and analogue signals. The amplifiers’ software also allows us to set signal priority, allowing the system to identify the preferred signal at a given time and to switch between them automatically.’ Adopting Dante has simplified control over the large quantity of effects speakers installed. ‘We can control each effects speaker independently or route them together in any combination as Dante offers enough channels to assign every speaker its own channel,’ Mr Qin continues. ‘If a performance group brings in their own multichannel audio source, be it a 5.1, 7.1, 20.2 or even a larger setup, they can mirror it with the Pro Tools software here and realise the effects they want. While many theatres are equipped with surround sound effects systems, there are very few that deliver the level of control that this system does.’ The sound system also includes a 24-channel Wisycom MRK960 wireless receiver, TC Electronic M3000 signal processor and Lexicon PCM96 stereo reverb/effects unit. The smaller theatre has a similar setup, but is smaller in scale and is visible for all to see as opposed to the concealed system in the grand theatre. This includes six flown Kling & Freitag Sequenza 5 Ws and a pair of stacked Nomos LS II subwoofers on each side. Sixteen Sona 5 cabinets serve as near-fill speakers, while eight CA1215-9s and the same number of CA1515-6s provide effects sound and monitoring. While MYC China provided the audio design, technical support and system alignment, David Ludz from Kling &

Grand theatre stage

Architectural render of the centre by Zaha Hadid Architects Freitag travelled from Germany to carry out ﬁnal alignment at the venue. The general contractor for the stage and audio parts of the project was Zhejiang Dafeng Industrial Co.

Both the grand theatre and the small theatre are becoming recognised by industrial professionals, many of whom attended the acceptance process. More than 100 different types of performance have been staged here since it opened to the public, including opera, musical productions and orchestral performances, and all have been garnering positive reviews. It appears that the Meixi Lake International Culture and Arts Centre has successfully ﬁlled the gap for a high-end cultural art platform, for both in Changsa and, in the wider sense, the entire province. A ﬁtting tribute, then, to a woman whose architecture has been enthusiastically welcomed by China, and has helped raise its cultural activities to a new level. www.kling-freitag.com www.mycchina.com www.stagetec.com

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FEATURES: INSTALLATION

Teaching at the top Bangkok-based SEAC has recently opened state-of-the-art facilities for its leadership training courses. Thomas Mittelmann takes a look at how A/V helps achieve those goals ‘LEAD, INNOVATE, DISRUPT, CHANGE’ ARE IMPERATIVES repeatedly used by SEAC (South East Asia Center) when addressing its clients as well as defining itself. Formerly the APMGroup and in existence for more than 25 years, SEAC is focusing on leading personnel and decision makers such as managers and CEOs of corporations, government agencies and individual entrepreneurs from its native Thailand and neighbouring ASEAN countries, teaching them to become better leaders, staying ahead of the pack in a fast-paced and highly competitive world. Most training courses run over two days, except for shorter seminars and one-off presentations, speeches or social events. SEAC’s core team of 14 trainers is often reinforced by guest presenters, thanks to its cooperation with organisations around the globe, including the universities of Stanford and Michigan. In 2017, SEAC rebranded and moved into new premises in Bangkok’s new FYI Center at Rama IV Junction. ‘Until last year, we never had our own facility,’ explains sales and marketing manager, Lawrence Cordes. ‘We’ve used hotels and convention centres as training grounds, but we needed a high-tech facility matching our content portfolio of making better leaders, better managers; a learning environment our clients deserve.’ SEAC now occupies three connected floors in one of the towers. ‘The open-floor plan with only supporting pillars was ideal for us, letting us build exactly what we needed; a lot of rooms, flexibility, openness and daylight,’ he continues. ‘We needed extensive electrical wiring with plenty of mains outlets to avoid extension cords, and flexible lighting, video and sound to create emotions.’ Armed with a 270 million Thai Baht budget, SEAC hired award-winning interior design firm The Beaumont Partnership, which drew a variable grid of fixed and movable walls across the three floors, resulting in a large number of differently sized, multi-functional spaces. Small

SEAC’s Lawrence Cordes with Vichai’s Thitikorn Sopchokchai and Patiyuth Gludnim at the reception counter huddle pods are ranged around large ‘distraction zones’ including reception and catering facilities, and meeting and seminar rooms, many of which are combinable thanks to movable walls, all acoustically insulated to enable simultaneous use. Beaumont not only created the desired ambience with a mix of natural light and materials and vibrant decorative elements, but also helped with purpose-designed furniture like foldable tables and chairs, mostly on castors, to maximise versatility and minimise changeover time and storage space without sacriﬁcing style or comfort.

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A/V consultant CCW Associates from Singapore and its Thai partner Ketakang Consulting designed, speciﬁed and oversaw the A/V design, while Vichai Trading (1983) was awarded the contract to supply and install all A/V equipment. ‘One of the most important factors when “selling” the facility is the technology and what it can do to enhance the learning experience,’ says Mr Cordes. ‘For the near future, our key focus is to get people to experience the facility, go “wow”, then come back and join our programme.’ Considering the many zones over three ﬂoors on Level 2,

FEATURES: INSTALLATION 3 and 4 of the building, Vichai set off to build a network with Biamp TesiraForté AVB AI digital audio servers at its heart, with one placed in either of the two control rooms on Levels 3 and 4, where most activity takes place. ‘We have two networks in use,’ explains Sompong Keskaew, sales executive of Vichai Trading, ‘one exclusively for audio over IP, while for video over IP and all control data including lighting, we’re sharing the venue’s LAN.’

Level 2 The SEAC experience begins with a café-style space named The Hub. Ideal for meet-and-greet and social events for up to 30, The Hub is connected to the control room on the floor above, and equipped for brainstorming and presentations, with three 40- to 50-inch Samsung LED displays and two Tannoy AMS 5ICT loudspeakers suspended from the ceiling and powered by a QSC CX302 amplifier. An ultra-short-throw Epson EB-1450Ui can serve as an interactive whiteboard and is used throughout the building. ‘We use traditional whiteboards as well, but normally people get bored at some point,’ says Mr Cordes. ‘I like the idea that you can use your finger, split the screen in half, share content wirelessly. For many people it’s “the next level”, and that’s what we want.’

The Hub provides café-style space for meet and greets, socialising or brainstorming sessions

receive video over the IP network and a Panasonic PT-EW650 LCD projector, with two also offering an interactive ﬁngertouch Epson EB-1450Ui projector. In addition to dedicated projection screens integrated in the walls, motorised window blinds double as projection screens. In each room, audio is dispersed via ceiling-mounted Tannoy AMS 5ICTs and/or CMS 503ICT BMs, while one of the screens is framed by Tannoy VLS 30 column arrays with lowend support from two ceiling-mounted VSX 12.2 subwoofers. Apart from the central server, each room offers practically all other ways of feeding content into its system in a BYOD (bring your own device) fashion. Audio-Technica AT724RXMK2 infrared microphone systems are on hand too, chosen to avoid interference with a nearby radio station. ‘Aside from larger gatherings where it’s required, around half of the

Level 3 Passing a reception counter, stairs or a lift provide access to Level 3, dubbed the Center for Innovation & Leadership. A demonstration area hosts exhibits representing SEAC’s current programme themes via two Panasonic projectors, while a small café connects with The Market, a space for break times and catering. Both areas are equipped with displays for electronic signage and video content, while ceiling-mounted Tannoy AMS 5ICTs and CMS 503ICT BMs provide audio. The Market incorporates seven Techno Booths, small meeting cubicles with a wall-mounted Samsung 43-inch display, and four SoundTube FP6030-II loudspeakers powered by SA202-RDT mini ampliﬁers. As with everywhere else in the facility, video content can be sent to individual screens and audio routed to the zones where it’s needed. Five meeting rooms for four to 10 people, equipped with a 43-inch Samsung display, can be used individually, though folding walls allow some to be combined. Seven rooms on Level 3 are dedicated to seminars. Each of these rooms is equipped with AMX NMX-DEC-N1222 units to

Seminar room setup with projection; sound absorptive material useful for pinned notes and glass panels as drawing boards

Mobile video cart with 65-inch display on motorised, height-adjustable mount

presenters prefer using microphones,’ states Mr Cordes. Adjacent seminar rooms, typically two, can be combined by removing the dividing walls, and a maximum three-in-one space dubbed Event Center can host larger gatherings with up to five projectors available simultaneously. Level 3 is also home to SEAC’s offices. Equipped with sets of displays and loudspeakers, staff can tap into the network and receive and send A/V feeds as well. The nerve centre of Levels 2 and 3 is a control room installed with PreSonus SLCS18AI and SLRM16AI EU mixers flanked by Tannoy Reveal 502 monitors and video displays connected to racks holding the Biamp TesiraForté AVB AI and Tesira EX-IN/EX-OUT next to network switches. All loudspeakers across Level 3 receive signals from QSC

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FEATURES: INSTALLATION The Level 4 control room is identical to and interconnected with the one below, and so is the A/V equipment and setup across a number of huddle rooms, variable breakout spaces and two seminar rooms. Level 4 also offers a boardroom space with video conferencing capability and a Sharp PN-80TC3 80-inch touch-sensitive display, and the largest seminar room on site, the ASEAN Amphitheatre. This 60seat auditorium features three large adjacent projection screens with two NEC NP-M353WS DLP projectors and an Epson EB-1450Ui for interactive touchscreen use. Tannoy VLS 30 column arrays left and right are complemented by distributed AMS 5ICT and CMS 503ICT BM loudspeakers and a pair of VSX 12.2 subwoofers, again hidden in the ceiling. Level 4 Membership Lounge CX108V, CX204V, CX302V, RMX2450a and RMX5050a ampliﬁers. Also in use are a TASCAM SS-R200 digital audio recorder, Kramer VIA Connect PRO and Campus wireless presentation equipment, plus Audio-Technica wireless microphones and receivers. Video over IP is handled by multiple AMX NMX-ENC-N1122 and NMX-DEC-N1222 units. AMX is also the choice of equipment for system control, namely the NX-3200, EXB-REL8 and EXB-COM2.

Mobile large-format video A special requirement of SEAC was the ability to have four Samsung 65-inch LED displays available for use wherever and whenever they were needed. ‘We gave Beaumont the screen specs and a mount allowing motorised height adjustment,’ recalls Vichai director, Thitikorn Sopchokchai. ‘They designed four compact “carts” on castors, in which we could place the screens on their motorised mounts

together with AMX breakout boxes. When we saw them, we were blown away by the simple and effective solution that gives SEAC maximum freedom with these screens.’

System control Ease of use by non-technical personnel during seminars or presentations, including seamless sharing of content, was a key requirement of SEAC. By default, the entire system is easily managed via iPads and a simple touchscreen inter face. ‘Based on AMX software, we created a custom user inter face, mostly based on a number of presets,’ explains Mr Keskaew. ‘With an iPad per seminar room, a user selects one of multiple modes for window blinds, lights, storage or input source and projector or display output, and then it’s eventually only about tapping a start button.’ SEAC does, however, employ three in-house systems technicians who are responsible for event preparations and setups, and ready to jump in wherever needed. To prevent errors, two of them can control any room on a preset basis with their iPads, while the head of the team, Sittipong Yossing, has unlimited access to, and full control of, every available individual function.

Level 4 Standards rise even further in the Center for Executive Education on Level 4, which features warmer colours and even higher-quality décor, a reception area and a Membership Lounge. ‘Compare with airlines,’ explains Mr Cordes. ‘If Level 3 is business class, then Level 4 is ﬁrst class. Here we train CEOs, top-level management and entrepreneurs. These premises can also be rented by corporations at a premium.’ Not surprisingly, SEAC’s top management has ofﬁces here with its own set of A/V equipment and network connection.

Boardroom on Level 4

Sittipong Yossing demonstrating the iPad system control ‘It took a little bit of getting used to this way of working; patching and routing signals in the digital domain,’ says Mr Yossing. ‘It was beneficial to have been involved with the design and approval of the tablet user inter face. Walking around the facility, using only my iPad, I am able to manage the entire venue. Video and audio over IP and having the control at my fingertips makes it extremely easy.’ Given the size and complexity of the SEAC project, it’s a surprise to learn it was completed in just five months. ‘The biggest challenge was commissioning the system including programming, adjustments and fine-tuning during the last month before the opening,’ says Vichai’s sales manager, Patiyuth Gludnim. ‘But seeing it stable and reliable without malfunction or even shutdown makes it worth the effort.’ ‘We want people to see the difference between old-school design out there and what we have here,’ adds Mr Cordes. ‘We happily refer our designers and contractors, such as when we had a team from a large Thai bank here for training. Hopefully it will spur future business for all.’ And in doing so, spur a drive to more modern A/V technology in the business environment in the near future. www.seasiacenter.com www.ccw.com.sg

Tech Booths with SoundTube focus-point loudspeakers

108 PRO AVL ASIA May–June 2018

www.vichai1983.co.th

FEATURES: POSTPRODUCTION

Tan Chee Beng

The new Mediacorp Campus at one-north

Mixing with the best 0U [OL ÄYZ[ VM H [^V WHY[ SVVR H[ [OL UL^ 4LKPHJVYW *HTW\Z Caroline Moss SLHYUZ OV^ [OL JVTWHU`»Z YLSVJH[PVU PZ YHPZPUN [OL NHTL MVY H\KPV WVZ[ UV[ Q\Z[ PU :PUNHWVYL I\[ HJYVZZ [OL YLNPVU MAY 2017 WAS A MILESTONE IN SINGAPORE’S FILM AND broadcast history. Mediacorp, the state’s largest media broadcaster and content provider, opened the Movie Mixing Studio (MMS), the centerpiece of its new audio post unit at the Mediacorp Campus building, where it joins six further sound mixing studios. These seven new studios have been put to work on music and sound effects postproduction for TV programmes and local and regional films, both for in-house productions as well as for third-party clients. The 70m2 MMS, designed by UK acoustician David Hawkins from Eastlake Audio, sets some new standards for the island state. Equipped with a Fairlight EVO 5-bay, 36-channel DAW controller, 43 Quested professional cinema monitor speakers providing L-C-R, surround, rear and height channels, and a Barco digital cinema projector, MMS is the first certified Auro3D and AuroMax mix studio in South East Asia. It’s surprising to learn, then, that the studio was destined to be a foley suite until a last-minute decision changed its designation to a mix theatre. And that decision has opened up new vistas for the company. Mediacorp can trace its history back to the beginning of radio broadcasting in Singapore in 1936, and today runs seven TV and 11 radio channels. But until the opening of MMS at the glistening new Mediacorp Campus at Mediapolis@one-north, it hadn’t been possible to complete TV and film soundtracks in the country, with the postproduction team having to travel to Hong Kong, Bangkok or India for the final audio mix. Mediacorp’s music and sound effects director, the ebullient Mo Ju Li, has headed up the audio post division since 2002, when she was given the freedom to select her choice of workstation. She chose Fairlight back then, and hasn’t deviated from the brand – now owned by Blackmagic Design – since.

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FOR RADIO Breaking Radio Silence SCALABLE

MODULAR

NATIVE AOIP

calrec.com

FEATURES: POSTPRODUCTION ‘The Fairlight MFX3 was still in production when I visited the company’s headquarters in Australia,’ she remembers of her ﬁrst visit to the manufacturer. ‘I also visited Fairlight’s partner, Fuji TV, in Tokyo and saw how well the networked system worked for them. Here at Mediacorp, we handle more than 1,000 hours of production each year, so a networked system is the best solution for us, as it allows us to grab what we need from the server fast. With a powerful QDC server supporting the entire team, we needed an equally powerful workstation. After an intensive period of research and assessment, we decided to commit to Fairlight workstations. They didn’t disappoint; we found editing on Fairlight fast and convenient, and we are glad that we made the decision to partner with them.’ Mediacorp purchased its ﬁrst Fairlight DAWs – Dream Constellations – in

2003. After ﬁve years of reliable and stable production, these were upgraded to DREAM (Digital Recording, Editing and Mixing) workstations with sidecar expanders, which the facility continued to work on until the move last year. Today, ﬁve of the audio suites at Mediacorp Campus including MMS are installed with 5-bay Fairlight EVO DAW controllers with CC2 engines. The other two feature the Solid State Logic AWS 948 Delta console and DAW controller. All seven studios have QSC monitoring, with 5.1 systems in the SSL rooms and 7.1 systems in the four Fairlight suites as well as the Auro-3D Quested setup in MMS. The entire audio package was supplied by SSL Asia. When it came to specifying 3D immersive sound technology, Ms Mo knew exactly what format she wanted, selecting Barco Auro3D over the rival Dolby Atmos. ‘I had to be brave, I had no

Sound designers Naveen Chander and Yong Chin Liang; Mediacorp’s Mo Ju Li and Tan Chee Beng

time to wait around!’ she jokes, adding that quick decisions were needed so that speaker placement and rack specs for the new studio could be finalised. The format appealed to her because ‘Auro-3D is a 3-layer, channel-based system, and the company has also developed AuroMax, a 26.1 format planned to launch later this year, which will be both channel- and object-based. It will be an open concept so every studio can work with it.’ Again, Ms Mo has some history with Auro, having travelled to the studio of Auro Technologies founder and CEO, Wilfried van Baelen, to mix a feature film, Long Long Time Ago, in 2015. ‘I took all my gear and went to Galaxy Studios in Belgium, and Wilfried assisted me with the mixing,’ she says. ‘With our new studio calibrated by Wilfried, the Fairlight EVO and our specially trained team, we are now able to offer Auro immersive mixes right here in Singapore. It’s a great opportunity for us.’ Indeed, it wasn’t long after the move to MMS that Ms Mo and her staff were working on the first Singaporean film to be released in Auro-3D: the fourth installment of Jack Neo’s blockbusting Ah Boys to Men series. All postproduction for the film, which premiered in November 2017, was handled by the facility.

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BUSINESS: &203$1< 352),/( FEATURES: POSTPRODUCTION A team of 16 people work in audio post with Ms Mo. ‘I have a great team who are keen to learn,’ she continues. ‘Everyone in the team has the skills to work with Fairlight and Pro Tools, though not all of them can produce Auro mixes yet. Producing in Auro calls for both technical and creative expertise; it requires a balance between the two as well as knowing the best tools to enhance creativity. Our goal is to equip every member of the team with this expertise. ‘In the past, I had to travel to Hong Kong, India and Thailand to engage their mixing studios for final movie mixing. We had to rely on their technicians for help, instead of training up our own team to support the mixing. Now, we save time and money because everything is contained in-house.’ Projects are now coming into Singapore from across the region, including 5.1 postproduction work on a number of films from Myanmar, and several Chinese projects. ‘One of the first jobs we completed really established our reputation in China,’ says Tan Chee Beng, assistant vice president of production resources at Mediacorp Studios. ‘That film, The Room, was delivered in 5.1 and was nominated at the Shanghai film festival in the Media Focus category. That really elevated the Mediacorp branding. We started the project at the start of 2017, when we’d just moved into the new campus, and managed to deliver the

of War and, so far, it has really inspired everyone on the team. ‘Our core business is still TV production but, while we’ve traditionally taken on a maximum of three movies in a year, we’ve now delivered 10 since the launch of MMS. We are a one-stop shop that offers customised services to suit any budget. Just like an à la carte menu; clients can pick and choose exactly what they want. ‘We are living in a disrupted world since we moved from Caldecott Hill to the new campus, and Mediacorp audio post constantly seeks to create value for external clients by investing in highquality systems. While there are many audio post facilities in Singapore, clients choose us not just because of our stateof-the-art facilities, but also because of our software, and a passionate veteran like Ju Li who will give nothing but the best of her work to clients. A good testament is the overwhelming requests we have been receiving ever since the launch of our mixing studios.’ The right combination of staff and technology has been crucial, but location is also key to ongoing success, and the Mediacorp Campus is ideally situated at one-north. ‘The Infocomm Media Development Authority (IMDA) is just down the road, and there is a supporting infrastructure out here,’ says Mr Tan. This includes the Media Academy, IMDA’s training campus, which sometimes conducts lessons on the

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Mo Ju Li

sound design and ﬁnal mixing in just two months. The producers were so pleased with the ﬁnal product, the word got out and now we have a few more Chinese projects lined up.’ Additionally, the audio post department is now delivering 5.1 mixes for TV transmission. ‘We want our team to have exposure to multichannel mixing rather than just stereo,’ explains Mr Tan. ‘All our rooms are now capable of surround sound, and 5.1 is the minimum setup for all our audio suites. By the end of this year, our MMS is expected to progress to AuroMax 26.1. The industry standard is constantly evolving, and everyone in the team is making the extra effort to meet these external business requirements. We recently inked a deal to produce the sound effects for a big budget international 3D Chinese animation movie, LanLing the God

Fairlight workstations at Mediacorp when it has capacity for training sessions. ‘I’ve worked with sound designers from all around the world, and I dare say we have ascended to a whole new international level,’ concludes Ms Mo. ‘Now it’s our time to shine; we have our own theatre, our own support and our own content – both local and international. We are deﬁnitely moving in tandem with the industry into the future.’ And the industry – both Singaporean and further aﬁeld – will doubtless be glad of the new momentum that will bring.

In the next issue, Pro AVL Asia takes a look at Mediacorp’s broadcast facilities.

www.blackmagicdesign.com/fairlight www.mediacorp.sg

May–June 2018 PRO AVL ASIA 113

FEATURES: BROADCAST

Power to the people Republic TV’s mould-breaking style of news presentation is being helped along by Sennheiser wireless systems. Caroline Moss reports INDIA HAS A PLETHORA OF NEWS CHANNELS THAT broadcast a daily digest of often-tumultuous current affairs and politics that shape the nation in a variety of languages. Into the fray has stepped Republic TV, an English-language news channel that emerges as a loud, outspoken voice from TV sets the length and breadth of the country. Behind the venture, which launched in May 2017, is Arnab Goswami, former editor-in-chief at the Times Now news channel, owned by India’s largest media conglomerate, the Times Group. Mr Goswami – so well known in India that he’s referred to throughout the country simply as Arnab – is renowned for his controversial take on news and current affairs. In launching Republic TV, he has vowed to break what he sees as the Western dominance of English news media worldwide, as well as the Delhi-centric media of his own country. His style is loud and confrontational. A panel of invited guests – which can number up to eight in the studio and more on the phone – join in to debate the issues of the day, with Mr Goswami often jumping to his feet and moving around the studio to emphasise a point when the debate gets heated. This, of course, would not be possible without technology that allows freedom of movement as well as guaranteeing a clear, audible audio feed. And here, Sennheiser radio mic systems come into their own, freeing Mr Goswami and the other newscasters to roam the spacious studio as if it were a stage. The Mumbai studio – a renovated mill in Lower Parel – plus a smaller TV studio in Delhi, have been equipped with four Sennheiser EM 2050 dual-channel receivers, eight SK 2000 bodypack transmitters, four SR 2050 in-ear monitor transmitters, eight EK 2000 IEM bodypack receivers for in-ear monitoring, eight MKE 2 lapel mics and three SKM 2000 handheld mics, as well as 18 MKE 2 PC wired lapel mics and two Neumann U87s. Republic TV’s main news studio is said to be one of the biggest in India, and features a huge videowall, in front of which

114 PRO AVL ASIA May–June 2018

Arnab Goswami with Republic TV CEO, Vikas Khanchandani the anchor is seated at a large, curved desk with room for three or four guests each side. The facility also has a smaller studio and a newsroom as well as postproduction and editing suites. Soundcraft Vi3000 consoles are used in the control rooms of the studios. Most of the programming goes out live around the clock, with Mr Goswami presiding over prime time slots, though some interviews are prerecorded. Republic TV also has another studio in Delhi and outside broadcast teams gathering news from across the country. Sennheiser 2000 series ENG sets comprising SK 2000s – a total of 32 – are being used in the ﬁeld, together with 32 EK 2000 camera mount receivers, 32 SKP 2000 plug-on transmitters, 32 MKE 2 lapel mics, 32 MD 46 handheld reporter mics and 14 HD 280 Pro noise cancelling headphones. ‘We operate differently from most other broadcasters,’ explains Jay Chauhan, Republic TV’s head of digital business and CTO. ‘We’re very lean and nimble, which means we can move quickly. We have just over 300 people in the whole country, which is small scale for a pan-Indian broadcaster. We have very efﬁcient teams; many of our people are young and quick to pick up on new concepts. A lot of my digital editorial

Republic TV’s Rakesh Patel and Sennheiser’s Hrishikesh Pingle teams are only around 21 and straight out of colleges and media schools. For many of them it’s their first job, which means they’re very open to new ways of working, and that makes things easier.’ Since its first broadcast on 6 May 2017, Republic TV has enjoyed a market leadership position, becoming India’s mostwatched English news channel in its first week of airing. Mr Goswami’s repute has clearly helped the ratings, though the format can also take credit. ‘We’re very spontaneous, taking three or four stories a day and really going into them in depth, rather than broadcasting a little bit of entertainment, a little bit of light news, a little bit of weather,’ continues Mr Chauhan. ‘We don’t make lots of prerecorded programmes. We have

FEATURES: BROADCAST

The studio control rooms are installed with Soundcraft Vi3000 consoles one entertainment show that runs on a Saturday for half an hour, there’s a ﬁlm-based show and an interview-based show. Many other broadcasters assume that on the weekend people won’t be watching that much news and switching over to different channels, but we keep rolling with the 24-hour news coverage.’ Rakesh Patel, general manager, broadcast tech ops and engineering, who also joined from Times Now, has been at Republic TV right from the beginning, helping with the facility’s wiring and equipment setup. Mr Patel has been working in broadcast for 15 years, but his career in audio goes right back to 1992 when he started work at the now-defunct Western Outdoor studios, where many an Indian engineer honed their skills. Mr Patel was responsible for the studio setups in Mumbai and Delhi, working closely with systems integrator Cineom Broadcast. ‘I’ve been using Sennheiser products for a long time, at Times Now and before that at Western Outdoor. I know the products are reliable and high quality, and the service is also good. Including the studios in Delhi and Mumbai plus ENG applications, we have more than 40 channels. There are 10 bureaus around India where transmitters are located; the main ones in Mumbai and Delhi and the others around the country. For some of the studio interviews wired microphones are used; it all depends on the application.’ Sennheiser’s sister brand, Neumann, also features heavily in Republic TV’s inventory, with 12 pairs of Neumann KH 120 monitors used throughout the studios, as well as in the control rooms of the audio postproduction and edit suites in Mumbai and Delhi. There is also a subwoofer, used for outdoor shoots and some of the studio debates. Mr Patel worked closely with Sennheiser regional sales manager, Hrishikesh Pingle, on the studio setup. ‘We talked

weekly as they set up the studios at Republic TV,’ explains Mr Pingle. ‘The first brief we had was that they were looking for equipment that could offer the best longevity. They also wanted robust equipment, both in the studio and in the field. Many news channels invest more in field equipment, and not in the studios, which they see as being a more controlled environment. But Republic TV wanted the best for both.’ The large videowall in the main studio presented a challenge. ‘It disturbs the audio wireless signal, so they needed equipment that would be able to handle that kind of disruption,’ he continues. ‘There was also the condition that the anchor should be mobile, free to move all over the large studio. If he wants he can get up, and with the same wireless mic go into the newsroom. Again there were a few challenges, as there were with the videowall, but our equipment is built to handle these kinds of issues so it was just a case of how to set the frequencies and set it up properly.’ Broadcast technology is enjoying a steep upward curve in India, with Republic TV working in HD and 5.1. ‘It’s important to raise the standards of broadcasting,’ says Mr Patel. ‘My main priority is to use a minimum amount of equipment of the highest possible quality. Audio has always been a small part of the budget but that’s finally starting to change.’ There is still plenty of room at the Republic TV HQ – a building as bold and brash as the news station itself – for future expansion, but no plans as yet to add more channels. ‘Our first and biggest expansion will be in the digital space,’ says Mr Chauhan. ‘We’ve invested a lot in designing an interface to make the news and shows easier to view on a smartphone. At least 75% of our content is being consumed on mobile, so we have made it very stable and viewable. The prime time show is being cut in two different rooms by two different sets of people, one crew producing the main television news feed and the other cutting it for mobile, and we stream both versions live.’ There is no doubt that the majority of Republic TV’s audience will be tuning in to watch Mr Goswami’s high-octane take on the day’s events. However, providing technological innovations such as this will certainly help keep the ratings high.

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www.sennheiser.com

Republic TV’s audio wizard, Rakesh Patel

May–June May–June2018 2018 PRO PROAVL AVLASIA ASIA 115 115

BUSINESS: COMPANY PROFILE

Leaving Las Vegas Full Throttle Entertainment’s ownership of the largest Funktion-One inventory in the southern hemisphere should provide some insight into the company. Caroline Moss ÄUKZ V\[ TVYL

Adam Ward protects his hearing in front of the FunktionOne Super Sub horn extensions at Rainbow Serpent 2017

116 PRO AVL ASIA May–June 2018

AUSTRALIAN PRODUCTION HOUSE FULL THROTTLE Entertainment (FTE) wouldn’t exist today if it wasn’t for the entertainment mecca in the desert called Las Vegas. Owner Adam Ward, an Australian expat working for boutique installation and touring company Audio West in Southern California, had just ﬁnished installing the new C2K mega-club at the Venetian hotel in 2000. ‘I had friends that were throwing a party in the club and they asked me to go out to Vegas to engineer their show,’ remembers Mr Ward. ‘About threequarters of the way through the show, the club’s director of operations offered me a job. Later that week I moved to Las Vegas.’ Full Throttle Entertainment was born. In Vegas, Mr Ward was put through his paces, working on a variety of shows in one of the world’s most demanding entertainment environments. This included DJ sets with everyone from Paul Oakenfold to Tiesto, an acoustic set by singer-songwriter Jewel, gigs with a multitude of top artists including Kings of Leon, The Black Crowes and Snoop Dogg and a DVD release party for the remaining members of The Doors. Possibly the highlight of his time there were the two shows he did with Prince, who insisted on walking around every spot of the empty venue to make sure it sounded right. Eventually, home started calling, and Mr Ward headed back to Sydney in 2007. It wasn’t his intention to start a production company. ‘I wanted to do something simple, like sell ice cream on the beach somewhere. Unfortunately the pay is horrible,’ says Mr Ward, who initially went back to his love of ﬂying aeroplanes for a while. ‘That was great except it didn’t light me up like production did. I went to a few gigs and clubs and thought how much better things could be.’ One day in October 2011, a well-meaning friend told him he needed to follow his passion and get himself back into the production industry. ‘The following day I registered the name of the business and the rest, as they say, is history.’ An early decision that practically made itself was which brand of sound system the new company should invest in. ‘I have had

a relationship with Funktion-One since around 2002. I met the US distributor while they were installing a system at Club ICE in Las Vegas. We all hit it off and FTE took over the operation and service contract for the club. I spent a lot of time with the product and fell in love. Later on, I worked for the US distributor and ran the West Coast division based in Vegas.’ After registering the Australian edition of FTE, Mr Ward placed an initial order with John O’Donnell of Funktion-One Australia for six Resolution 5s, four Resolution 4s and eight F218 bass enclosures. CMI, the Australian distributor for MC2 and XTA, sent out enough gear for him to build two full main racks to power the F1 equipment. After a Christmas spent locked in a garage making cables, FTE was ready to make some noise. The company’s first official gig in Australia was the Agwa Yacht Club boat party in Sydney featuring DJ Lee Burridge which, although not a financial success, put the new company on the map. ‘We ended up losing money on the gig, yet a few people noticed what we were about and the phone started ringing,’ says Mr Ward. ‘At the same time we got a call from some friends from Vegas. The TAO Strategic Group was opening Marquee Sydney and needed an operator to handle production. I had already worked with the group in Vegas on the TAO project and it made sense. We signed a deal with them that is now in its sixth year.’ Today, FTE maintains and operates the largest Funktion-One inventory in the southern hemisphere. The company is the exclusive stockist of the Vero large-format touring system and V132 subs in Australia, and also carries a large inventory of F1 stage monitors as well as Resolution 5s, 4s, 2s, 1.5s and 1s, plus some F101s and F81s. ‘We are purely Funktion-One when it comes to sound,’ says Mr Ward. ‘I have a great relationship with Tony and Ann [Andrews], John [Newsham] and the rest of the team at F1 so it makes sense. Until recently, we were the only company really deploying the product on a large scale in Australia. If the end user wants Funktion-One then we are a one-stop shop, from design and install to rental.’

BUSINESS: COMPANY PROFILE Mr Ward puts this down to his extensive history with the brand. ‘I’ve had a lot of experience with Funktion-One in the US and know how to make the gear perform. It takes a large investment and guts to throw down the necessary cash to put together a system large enough to deploy. A lot of operators thought we were crazy doing what we did. We were going against the grain of what everyone else in the professional audio market was doing: standard line array offerings. We moved in the opposite direction and went point source.’ This was something of a double-edged sword, allowing the company to carve out a niche in the market that was being overlooked at the time, but at the expense of a support structure to assist it in the direction it was going. ‘Unlike many other countries, Australia didn’t have the necessary inventory available to deploy on a large scale, as necessitated by many of the shows we were trying to service, and it was a big risk to go all in the way we did,’ he remembers. ‘We still occasionally simply purchase the gear we need in order to meet the requirements of a show. However, when I look back at how quickly we have grown, I realise the decisions we made at the time were the right ones.’ FTE carries all the brands that support the Funktion-One product line such as MC2, XTA and, more recently, Lab.gruppen. On the console front, the company likes to work with Yamaha and Allen & Heath. ‘We love Yamaha’s new Rivage PM10 and the PM7, while the Allen & Heath dLive and SQ series consoles also deliver bang for the buck.’ Today, the company’s head ofﬁce in Melbourne handles production and design work, while a satellite ofﬁce in Sydney supports operation and maintenance contracts there. Production work is mainly concentrated on Australia’s eastern seaboard, although FTE is willing to travel anywhere for the right job. Design and install, however, can take place anywhere in the country, and the company is also currently working on large projects in South East Asia and Dubai. With its reputation for working on everything from large trance festivals to boutique ‘bush doof’ outdoor raves, most FTE

Novel presents Smalltown 2016 at Caulﬁeld Racecourse

Pitch festival, 2018

events are currently DJ-driven. ‘This is not only my background but the fastest-growing market in the industry,’ says Mr Ward. ‘The focus of our work is changing. However, as more live acts play on our systems, the perception of Funktion-One only being good for dance music is broken. Many of our clients are providing multiple stages that include band elements, and we are using Funktion-One with fantastic results. We are continually growing our production side of the business, with an aim to increase efﬁciencies, expand crew capabilities and raise product delivery standards further. However, the real growth in the company will be our design install side of the business. We have been involved in some amazing projects, from Las Vegas to Ibiza, and we really see a need to bring that experience to what we are doing now.’ Those formative years spent in Vegas are deﬁnitely paying off for FTE. www.funktion-one.com

Funktion-One MB212 at Bloom nightclub in Geelong, Victoria

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May–June 2018 PRO AVL ASIA 117

BUSINESS: COMPANY PROFILE

Half a century of problem solving

Clear-Com’s Bob Boster highlights 50 years of beltpack development

Clear-Com headquarters in Alameda, California

Clear-Com was established 50 years ago by two engineers looking to solve a problem. That ethos is still going strong today HOW MANY COMPANIES CAN YOU THINK OF WHOSE products are backwards compatible all the way back to their founding? Now let’s whittle that list down a little further. How many of them are half a century old? You won’t be alone in struggling to think of many manufacturers that can answer ‘yes’ to both of these questions; it is a rare accomplishment in any field of business. However, Clear-Com is one company from our industry to join this very exclusive club. ‘Our traditional partyline wired beltpack-based solution, the current product family of which is named Encore, is in fact compatible to our very founding products,’ confirms Clear-Com president, Bob Boster. ‘You can buy a beltpack today that you can plug into a 50-year-old system. We don’t often hear about a 50-year-old system, but we definitely hear about 35-year-old-plus systems. It happens all the time that somebody calls us up and we can give them the part number for what they need to order.’ This may seem extraordinary for a technology company, and indeed, with all of the various manufacturers that have come to reside under the Clear-Com umbrella over the years, not every product line can achieve this feat, but for Mr Boster this goes right to the heart of what Clear-Com is. ‘As we have moved forward, we have looked very much at trying not to make people throw everything away every time they need to elaborate or iterate their solution,’ he explains. ‘There may be budget in people’s planning for throwing out and putting in an entirely new audio system for playback to the audience. They don’t necessarily have the budget for tearing down the entire intercom. So where possible we have tried to design so that they can add on. If they have one of our existing

118 PRO AVL ASIA May–June 2018

Clear-Com through the decades – some examples of the company’s technology

The ProGrid family of ﬁbre transport devices

wired solutions and they need six more beltpacks, they can get the current generation of beltpacks, which is backwards compatible, no problem. Plus if they need to add on a wireless solution and they need to bring in our LQ solution to do an IP link to another theatre elsewhere, we can do all of that for them without them having to throw away their core system.’ For Mr Boster, this stems from one of the major principles of the company since it was incorporated in April 1968 by Charlie Butten and Bob Cohen. ‘We have addressed the market with a consistent focus towards the customer, taking care of their requirements and making sure that their needs are addressed above everything else,’ he states. ‘For all of our customers, whether they be in broadcast or live performance or any of our different markets, they are using us to do something that has a high degree of importance. Our focus is on making sure our equipment does what they need it to do so that they can accomplish that task. That’s been consistent for 50 years.

BUSINESS: COMPANY PROFILE That consistency has earned us a place in people’s minds in terms of the brand being there for them.’ This approach has provided the HME-owned manufacturer with twin benefits. While the customer focus has helped to create some strong relationships over the years, it has also helped the business with the way it develops new products. ‘We get a lot of benefit from seeing how to glue things together or to build new systems, or interoperate different kinds of things so that people can reuse their resources,’ says Mr Boster. ‘Almost every implementation involves more than one of our products, and sometimes it also involves our competitors’ products. So there are many situations where we have to build a hybrid platform where we are using our IP products to link together to our competitors’ products across two different geographies. And then there is wireless, partyline, matrix and IP, which all need to be glued together. We do a lot of work where we are working closely with the customer and that fits into how we develop new products, how we develop our service strategy, how we go to market, how we talk to people about the product and how we train on it.’ This has ensured that Clear-Com’s R&D team has been working at full pace. Whether it has been making minor adjustments to make existing products more suitable for the requirements of military users, or ground-up rebuilds to ensure marine-grade devices comply with new standards, there has been a great deal of development taking place at the company’s San Francisco headquarters. ‘We have been moving at an incredible rate as the marketplace’s requirements for a couple of different movements within our technology family have become more powerful,’ says Mr Boster. ‘Last year we released 11 new products, the year before that we released 13 new products. We’ve been averaging over 10 a year for the last five years. This is an incredible rate of innovation.’ And this growth has in turn led to the need for a new manufacturing facility. ‘There is a new facility because we are doing more business,’ states the Clear-Com president. ‘We are doing more business because we are creating more

linking together existing systems over IP in a platform that really works for all kinds of people. That idea of continuing to take the high-end, cutting-edge part of our technology family and make those available to a broader part of the market that might be more associated with our traditional products like partyline, that’s deﬁnitely something that will continue as we move forward. The other is continuing to expand the platform of ways to move signal around. Not just intercom but video, audio and control.

Assembling beltpacks in the San Diego factory kinds of different product areas and addressing more markets with solutions that are specific to them. All of those things interchange and interlink to put us in the place we are today where we need to have a new factory and we need to continue to innovate at that speed because we’ve set that expectation with the customers. ‘In fact, the 50th anniversary has been a great opportunity to slow down and take a breath and look backwards because we have been so focused on where we are going next for the last five or so years that it’s been a good opportunity for a little soul-searching,’ he continues. ‘But that project is not changing. We are going to release roughly the same number of products this year. We are definitely moving at pace.’ This attitude means that looking to the future and continuing to serve its customers’ needs are the priority for Mr Boster. ‘One thing that I think is really critical is continuing to democratise some of these higher-tech solutions like IP,’ he reasons. ‘If you look at our product offering in recent years, the HelixNet digital partyline system is an example of that where we’re taking IP and moving it into a mainstream workflow that people can address. Another is our LQ product where we’re

The company sees its LQ series as democratising IP solutions ‘Broadly, I think we will continue to move forward in trying to incorporate new technology developments into solutions that let people build systems so that they can accomplish what they are trying to do,’ says Mr Boster. ‘Our DNA is about allowing that. Which technology platform we use is less important than understanding the dynamics of making that possible.’ This has been the goal of the manufacturer for the last 50 years. Clear-Com was founded to be a problem-solving company and that is what it is still doing today. www.clearcom.com www.clearcom50.com

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May–June 2018 PRO AVL ASIA 119

BUSINESS: COMMENT

A letter from America Will net neutrality, and all its negative implications for musicians and producers, move to Europe and the UK? Dan Daley discusses NET NEUTRALITY TO MANY OUTSIDE THE States is one of those ‘American things’, like NASCAR, pickup trucks and air conditioning everywhere. But, like many inscrutably American phenomena, like wearing baseball caps backwards, or sideways, or at all, it may be coming your way, for better or for worse. Simply put – and nothing is truly simple about this far-reaching and controversial decision by the US Federal Communications Commission (FCC) to make the internet vulnerable to the highest bidders – removing net neutrality regulations means that internet service goes from being classiﬁed as a regulatable public utility and becomes instead a market-based commodity. Internet service providers (ISPs) would, in theory, be able to determine the bandwidth (speed) at which online presences can move through them. Giant ISPs such as AT&T or Comcast could provide more bandwidth for content from subsidiaries they own, such as DirecTV or NBC, respectively, or provide less bandwidth by comparison to

competitors’ content, a process known as throttling. Throttled content will get through, but more slowly and with all sorts of artefacts, such as buffering, which is anathema to video. Consumers will go where the experience is better, even if it means watching some content they might have viewed as second best. That’s not good news for content providers, particularly relatively small ones, like independent record labels, the artists on them and the producers and engineers who help create them. So the loss of net neutrality, which was slated to happen in April, save a last-minute (and in a President Trump administration, almost certainly temporary) legislative reprieve, has highly negative implications for musicians, who use the internet to sell not only their most basic ware, their music, but also concert tickets and branded merchandise. If mom-and-pop stores have to be wary of big-box stores such as Home Depot and Wal-Mart and their pricing power, indie musicians see the same kind of

bogeyman in corporations like Live Nation and AEG Live, which control performance venues from arenas and stadia down to hundreds of local pubs across the country. Proponents of eliminating net neutrality regulations assert that it will foster more innovation and competition. As for the former, there’s certainly been no shortage of creative invention in the last couple of years; regarding the latter, we already know what happens when the largest corporations are allowed free rein over a ‘free’ market landscape. Scale always wins.

Can’t happen here Europe and the UK are decently insulated from this kind of ideological warfare, at least when it comes to the internet. Net neutrality is well protected in the UK under the EU’s Open Internet Access rules, a condition that may even survive Brexit. But iterations of it could still take root on that side of the pond. For

instance, EE might give consumers free Apple Music subscriptions and not count the data it uses streaming music through Apple Music. But when that same broadband customer is streaming Spotify, the data counter starts ticking quickly. More to the point, professionals, artists and producers using the web to sell or promote their work are going to bump into similar slow lanes when compared to the major media corporations. Ironically, the same digital music production technology that putatively makes an indie artist in Iowa the capitalist equal of Warner Music Group when it comes to making records helps not at all when it comes to selling those recordings. The game goes to the most efﬁcient marketer, not necessarily the best content. The record took months to make; marketing moves in real-time, as does the internet. So keep an eye on this American oddity of net neutrality. It may be coming to a virtual place near you soon.

A letter from Europe Converting heritage to hospitality – Phil Ward unlocks the reason behind the disappearance of Soho’s postproduction facilities LONDON’S SOHO DISTRICT HAS ALWAYS been, shall we say, cosmopolitan. After the war it was still a low-rent, shambolic ghetto ﬂecked with spartan pubs but, because of its central location, it was a magnet for undiscovered artists and veteran rebels. As the 1960s swung, the sleaze barons moved in and made it a red-lit shadowland that always prompted the more squeamish members of my family to advise that I wore a disguise when I had cause to visit. Quite seriously. I promised them I would. As far as the studio landscape was concerned, at ﬁrst it was the natural habitat of the small, independent multitrack mezzanines that serviced the hard underbelly of British rock, laced through with drugs, tattoos and brutally iniquitous recording contracts. Later, as the advertising industry rebuilt entire blocks out of Filofaxes and fossilised espresso, a network of postproduction houses sucked in the world’s supply of Soundtracs desks and Genelec

120 PRO AVL ASIA May–June 2018

monitoring. You couldn’t move for voiceover actors, dispatch riders and hyperbole. Soho became its own theme park, just as there are in the boozier enclaves of Paris, Rome or Berlin, and soon for every trafﬁc bollard there was a tourist, of equally stubborn density. And eventually that’s all there will be, as the latest proposals by the hotel and leisure industry indicate. Hotels, cafés and restaurants are quite literally elbowing the residue of useful production out of the way and threatening to consign Soho’s long heritage of media livelihood to a skip dumped outside Pret A Manger. Developers are right now eyeing up Film House on Wardour Street, so called because of its association with the British Pathé movie organisation. In fact, at one point Wardour Street alone had over 40 ﬁlm companies operating along it, with every kind of ancillary facility located in the surrounding streets. Film House is already riddled with luxury

apartments, and the 7-storey plan before the City of Westminster Council now is only the latest of many similar conversions of heritage into hospitality. At some point, there won’t be anything to visit except the visitors’ accommodation, and then nobody will come. Anyway, there are still a few working creatives on this site, such as Deluxe’s UK postproduction house Encore, sound studio Angell Sound and VFX/grading house Freefolk, and they would all have to go. Naturally, as reported recently in Broadcast magazine, the City of Westminster Council has received depositions from the creative community that protest against the machinations, and petitions have been added to several others across the city where facilities – not least the famous Air Lyndhurst, built by Sir George Martin in Hampstead – have been threatened by the jackhammer. They write: ‘Demolishing historic buildings to build an unnecessary hotel and restaurant will cause massive disruption and

pollution in an already disrupted area and strip even more of Soho’s character away. The creative industries, the local community and its rich history are what bring people to Soho but, as these characteristics disappear, so will the attraction and the local economy.’ At least Redwood is still in Windmill Street, still owned by André Jacquemin and Monty Python’s Flying Circus alumnus Michael Palin, and a monument to Soho’s connection with the very best of UK entertainment. And it’s not all one-way traffic for pro audio vehicles, either. Bizarrely, the new platform for musical creativity may turn out to be catering after all. Nando’s – yes, the chicken-flavoured fast food run – has installed a recording studio at the back of its Frith Street renovation, complete with KRK monitoring and a Neumann U87 mic. ‘Some of the best ideas have started over PeriPeri,’ a Nando’s spokesperson has said. They should try it on dead parrot. That would bring the tourists flocking.

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BUSINESS: TECHNOLOGY

It’s all in the Mix What are the challenges and techniques used by broadcast audio engineers when it comes to mixing for soundbars? Dennis Baxter explains all AS A SOUND PROFESSIONAL, I THINK LISTENING (monitoring) is the most critical aspect of sound production. Now consider this: the single greatest difference between mixing for live venues such as concerts, clubs, churches and theatre and mixing for live broadcast is that the broadcast mixer is not hearing the same sound reproduction that the audience is hearing. Since no one is actually listening to the same thing heard by the consumer, there is a belief by many broadcasters that most of the problems with audio reside with the consumer. While there is some validity in this somewhat prejudiced opinion, I also believe that the audio professional can create compelling, interesting sound for broadcasting if one knows how to navigate the mineﬁeld. I have always been concerned about how my live broadcast shows sound in the consumer space. In my early days of television audio, I would have to send a mono voice channel and a mono show channel to master control where they would make 2-channel audio. I can assure you that I was not always happy with the sound, in spite of the fact that this was not even true stereo. To overcome my dissatisfaction, I started to record everything and QC’d my work on a variety of devices and settings. Through this process, I found out that some of the experiments with stereo and surround sound did not work because the creative intent (sound design) could not be properly reproduced into the average home. This is the situation that content producers ﬁnd themselves in today. Over-producing audio can have a negative outcome because of the large variety of nonstandard reproduction devices. Those of us who mix and produce sound for broadcast and home entertainment should have recognised by now that there is a renewed

122 PRO AVL ASIA May–June 2018

interest in the quality of sound and enhanced audio in the home. Most of the technical difﬁculties have been ﬁgured out and there is a plethora of speaker

Teufel Audio’s Cinebar Pro uses sideﬁring speakers to create a virtual surround soundstage

systems available at all price points. Everything is looking (sounding) good for high-quality audio to be an entertainment driver and marketing differentiator. But, as a sound professional, I am very concerned with conforming all types of content to all kinds of speaker systems. How do we produce sound for movies, drama, sports, music – really all forms of entertainment – for playback over a wide range of speakers and headphones? Signiﬁcantly, with a wide range of playback options comes the possibility of problems with speech intelligibility, content dynamics and even conveying the creative intent of the producer. For the audio professional, next-generation sound production for the personal market represents a tricky learning curve. Speakers and transducers, especially for the home and studio, are experiencing a renaissance in design and application and will once again claim the centre of the home entertainment system.

Through the 1960s and 1970s, a wide range of modestly priced, high-fidelity speakers and audio components became available and spurred the integration of the television and the stereo. Mono and stereo sound reproduction were fine for basic television audio but, if the content providers were going to produce a premium experience, the sound reproduction had to be addressed. Movies, sports and entertainment quickly added 5.1 surround sound, but it was abruptly obvious that having six separate speakers in the home living space was not going to work. It took over a decade for surround soundbars to be developed. However, many of those soundbars were and are not true surround sound. They were simply an improvement to the sound. Beyond surround, the future of home entertainment is immersive audio and video. Immersive – 3D audio – is a paradigm shift and as audio professionals we must evaluate how to create and produce sound in this new frontier. What is 3D sound for home entertainment? I believe immersive sound can be best defined in the context of what is the final creative effect or intent – dimensionality, localisation or maybe just spaciousness.

BUSINESS: TECHNOLOGY For home reproduction, there will be a compromise in the accuracy of the sound in exchange for the entertainment effect of the sound. Significantly, this is because of the reproduction inaccuracy of most sound systems making it difficult to have good localisation above the viewer. For example, if you are mixing an aerial scene, the accuracy and localisation of sounds above the listener is critical. But with sports, most of the sound above and around the listener is ambiance and atmosphere, making it not as critical. If we consider that immersive sound includes the recreation of sounds from above, completing a full 360° soundsphere around the listener, then the sound designer must optimise the use of the sounds reproduced from above. As with our aerial example, critical height effects (aeroplanes) will require true reproduction with height speakers, but most sports and entertainment do not have critical height information and do not require true reproduction. Broadcast audio production for most sports and entertainment is about enhancing the sound and not as much about localisation. Sport generally does not have a specific use for sound above the viewer and any definition of immersive sound would probably only include the use of atmosphere and ambiance above the viewer. The commentators and sports-specific sounds are the most important aspects of the sound production and mixing a front orientation is typical with sound for picture, taking advantage of the localisation inherent in soundbars. Virtually all soundbars have digital signal processing (DSP) built in, which can control equalisation settings as well as room simulators to change the reproduction characteristics. Since most DSP enhancements are user settings, I would caution about excessive use and encourage mixing on a fullrange, discrete reproduction speaker system. Most entertainment and sports productions can be adequately reproduced on soundbars because the soundfield’s critical sound foundation is left-centre-right and

soundbar type reproducers are aimed directly at the viewer, resulting in clarity and intelligibility. Enhancements come from the speakers to the far left and far right of a 5.1 or 7.1 soundbar along any side and up-firing speakers that load the acoustic environment with reflected sound creating an immersive effect. Clearly, speaker trajectory and DSP play a significant role in improving spatial reproduction. Interestingly, there is little discussion about audio specifications for soundbars and sound peripherals. As sound designers and producers, we need to remember that when the speaker reproduction becomes less discrete – meaning that there are no rear or height speakers like many soundbars – then the resolution of any localisation will diminish.

The wall-mountable NW700 Sound+ soundbar from Samsung

JBL Professional’s Pro soundbar is an active soundbar designed for commercial applications A final, but significant, consideration is that audio productions typically cannot be mixed separately for stereo, surround and immersive, much less for speaker configurations of reproduction devices. Advances in sound technology and soundbar compatibility will require an advanced method that renders the sound specific to the reproduction device. Rendering the audio is an active process where the sound is optimised for a specific output configuration – stereo, surround or immersive, for example. Ambisonics is a process that is capable of rendering to any format, but can also adjust for electrical and mechanical parameters of the transducer as well. A sound device may have a specific speaker firing trajectory (up-firing) or DSP, and ambisonics is a method that renders a sound mix to specific parameters. An optimum soundfield can be produced for each environment by the reproduction equipment. There is no way to mix it all! For the sound designer, surround and immersive sound seem to be a catchphrase for all types of sound production and reproduction for the consumer. Depending on the content, playback device and room acoustics, there are a lot of ways to contour the options for a listener. But I will tell you this: regardless of the latest technologies and buzzwords, I recommend that you keep your mix simple and remember speech intelligibility is pretty much the golden rule. Good sound? It’s all in the mix.

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May–June 2018 PRO AVL ASIA 123

BUSINESS: SHOW REVIEW

A crowded Rohde & Schwarz exhibit between seminars

The Ideal Systems booth promoted VR technology to visitors

ABU Symposium

JAA Systems’ Kaartigaiyan Gunasegran with the Calrec Brio36

The 14th annual symposium of the ABU DBS attracted international broadcasters to Malaysia

AS IN PREVIOUS YEARS, THE 14TH EDITION OF THE ABU Digital Broadcasting Symposium (DBS) drew a large crowd of Malaysian TV and radio broadcasters to its conference and workshop. Recognising the growing gap between advanced and smaller, developing broadcasters, some of the classes attempted to address these issues and share various experiences. Taking place at the Royale Chulan Hotel, the 4-day composite event with its international conference, industry exhibition and focused workshops showcases and presents technologies, content strategies and effective business ideas to address current and future challenges within the industry.

Peter Lee and a customer following an Orban demonstration

Joehan Tohkingkeo from Lynx-Technik It attracted top international broadcasters including NHK-Japan, Commercial Radio Australia, BBC World and others to participate in the workshop programme. The DBS Conference hosted discussions on broadcasting business needs to evolve, technologies and standards, the changing broadcast environment, challenges in media delivery and next-generation A/V. Outside the symposium, a small 3-day exhibition was staged for those wishing to promote relevant products. ‘This is the second time that Datavideo has participated here at ABU,’ conﬁrmed senior sales manager, Angel Woon. Previewing the latest NVS-40 4-channel streaming encoder, the NVS-25 video streaming server and the NVD-30 IP video decoder on the booth, Ms Woon explained the appeal of the format. ‘It’s not like Broadcast Asia where you have to promote all your relevant products – you’re here to network with the real broadcasters. We haven’t exhibited here for seven years and

124 PRO AVL ASIA May–June 2018

we’ve met many relevant technicians from Astro and RTM, but you can never tell whether something like this is a signiﬁcant ROI.’ Having made a similar northwards journey from Singapore, this year’s ABU marked Joehan Tohkingkeo’s seventh consecutive attendance as an exhibitor for Lynx-Technik. Providing handson working demonstrations of the latest Yellow Brik and Green Machine innovations, Mr Tohkingkeo enjoys the format of ABU. ‘We exhibit at Broadcast Asia (BCA) every year and this is a much more relaxed format where you meet many Malaysian broadcasters who do not make the trip to Singapore for BCA. It can be busy during the breaks in seminars when the conference attendees spill out. You cannot assess whether this sort of exhibition pays off but I think you have to be seen on a consistent basis otherwise broadcasters forget you’re there.’ For the third year in succession, JAA.S was exhibiting its portfolio of products from Merging Technologies and Orban in addition to the Calrec Brio36 console. ‘We’ve met many

Stagetec Asia exhibit

Malaysians, from the working technicians and engineers to the real top executives here,’ conﬁrmed Media Lab Alliance technical director, Azhar Bin Abdul Latiff. ‘We’re also showcasing a product of our own in the MMS Lite, which is gaining popularity.’ In addition to showcasing the Crescendo Platinum console and a Nexus digital audio router, Stagetec Asia was also exhibiting a number of other products from its portfolio of brands. These included an A–Z of brands from ADAM Audio monitors to Zenon Media solutions, including an ASL Enchorus comms system, DHD S2-SX Dante desk, DirectOut ExBox.MD converter, For-A Hanabi HVS-100 mixer, RTW TM3 Primus touch monitor loudness meter and Tieline Via portable codec. ‘It’s important that we demonstrate and explain some of the products that provide full turnkey solutions for broadcasters here in Malaysia,’ explained managing director, Advon Tan.

Media Lab Alliance technical The Sony booth promoted PVM and PVS products director Azhar Bin Abdul Latiff with his MMS Lite Following last year’s location in the centre of the hotel’s ground level, ABU’s exhibition ﬂoor migrated but, during the transition, had lost some prominent audio manufacturers such as Avid and SSL. With its ability to attract the industry’s leading solutions providers and experts, ABU provides a platform that allows broadcasters to share expertise, learn from experiences and network with like-minded colleagues.

2018 Dates:

5 – 8 March

2019 Dates:

4 – 7 March

Venue:

Royale Chulan, Kuala Lumpur

Total exhibitors:

TBC

Attendance:

1,200

Contact:

www.abu.org.my

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BUSINESS: SHOW REVIEW

Prolight + Sound 2018 While the volume of product launches suggested a continued importance for the show, there were still many concerned voices in the audio halls at Prolight + Sound ‘WHEN YOU WALK THROUGH HALL 4.1, YOU SEE THE death of Prolight + Sound,’ observed one exhibitor who was mercifully counting his blessings within the reﬁned splendour of Hall 3.1. The community of audio exhibitors that now deﬁnes the ‘Sound’ part of Frankfurt Prolight + Sound (PL+S) is collectively willing the annual trade show to succeed. However, Messe Frankfurt’s consistent changing of dates and tinkering of hall locations have seemingly combined to confound and draw attention to its ongoing problems. Born out of MusikMesse approximately 25 years ago, PL+S rapidly expanded by attracting everything required for the stage, from smoke machines to moving head lights, loudspeakers, audio consoles and wireless microphone systems. The newly built expansive halls were opened in quick succession as a deluge of overseas manufacturers grouped themselves under the various roofs in order to seek out new distributors while meeting existing ones. Hoteliers, taxi drivers, airlines and restaurants prospered, relying on the annual trade show as a main source of income. For anyone solely doing business in professional sound and lighting, the show was a given year in year out.

Espartaco Saez with Beyma’s latest 15- and 21-inch LEX woofers

Outline Audio’s Giorgio Bifﬁ premieres Superﬂy

John Skjelstad of Stagetracker and Bjorn van Munster of Astro Spacial Audio presented regular demos

James Gordon announced DiGiCo’s collaboration with L-ISA source control together with Quantum 7 software technology and 4REA4 With its roots firmly tapped into the traditional MI and live sound production sectors, PL+S found itself being encouraged by both exhibitors and distributors alike to market itself as a default install show. It became apparent that there was little overlap between the contractor and live sound markets, so PL+S and CAVIS failed to attract significant numbers of consultants or installers. Since 2004, Messe’s widening aisles and emptying halls have coincided with ISE’s unchartered growth into new halls and car parks over in Amsterdam. The 2-month gap between the shows has effectively thrown open a big dilemma to those distributors based several time zones away. Although the presence of Chinese New Year and Easter may also play some part in a decision being made, the A/V bandwagon’s continued growing pains are assured. ISE has certainly played a significant role in diverting the trade show budgets of a host of brands from Meyer Sound to TOA away from Frankfurt. In addition, numerous other exhibitors have decreased booth sizes over the years, citing declining ROIs and visitor attendances in their decisions. Prior to its acquisition by Bosch in 2006, Telex EVI commanded one of the largest and most eye-catching booths in Hall 4.1. This year EV and Dynacord merely promoted an X-Line Advance line array module and IPX amplifier on a vastly scaled back stand. Two years ago, EAW provided the loudspeaker backdrop for the enormous Festhalle, while Loud Technologies stablemate Martin Audio unveiled 10 new products during the 2017 exhibition. This year, both were absent.

126 PRO AVL ASIA May–June 2018

The decline in European MI has been evident for the past decade, and the downward spiral has created a knockon effect. Not so long ago, Thomann, Marshall, Fender, Gibson, Zildjian and Orange were making their presence felt – and heard – but having left the stage, these star brands have created a gap that seemingly cannot be ﬁlled. In order to better connect with musicians, microphone manufacturers traditionally exhibited at MusikMesse before alternating or diverting to the PL+S halls to inter face with a wider audience. Although the absence of AKG, Audix, beyerdynamic, Sennheiser and Shure may not be purely accredited to the show’s contraction, it is a signiﬁcant correlation. Perhaps, the artist riders always outweighed the production companies in making a

Francisco Carpia, Andrea Salvioli and Marco Cantalu presented the Vio L208 line array at the Agora outdoor stage

Tiago Correia with the Nextproaudio LAs418A active subwoofer

purchasing decision and Messe Frankfurt’s tactic to sell multiple booths ultimately backﬁred. The extraordinary exodus of oriental brands from Hall 8.0 to 9.1 in 2012 also had an adverse effect on the fortunes of the show. The segregation of its primary Asian customers remains an irony, as the organiser has hosted PL+S in Guangzhou and Shanghai since 2004. The continued absence of many Asian manufacturers including Chiayo, DSPPA and Taiden originated from this decision. Prior to the advent of ISE, PL+S commanded the main stage for product launches as all R&D calendars synced into next year’s dates announced at the end of the current show. Despite sharing this billing with both NAMM and ISE, PL+S still demands a revolving spotlight on the booths as the wraps come off. While the main audio Hall 3.1 recorded diminishing audiences, the lighting Hall 3.0 below was bustling with visitors excited to see the latest technology for this section of the industry. As PL+S appears to have cemented its status as

GLP’s Alexander Braun with the new S350 moving head

Roberto Mataloni, Mauro Tanoni and Bruno Tanoni from FBT RCF’s Lucio Boiardi Serri

BUSINESS: SHOW REVIEW the main European event for this section of the entertainment industry, the organiser will be hoping its success here will be replicated in the more audio-centric halls. Premiered for the first time, MA Lighting’s grandMA3 lighting console allowed users to get to grips with its new system architecture incorporating new fixtures, features and effectshandling. In addition to the 13 grandMA3 demo stations, MA’s booth also had a dedicated grandMA3 demonstration auditorium allowing up to 70 seated visitors to take in a live presentation of the new console in German and English. In addition to presenting an array of innovative new products, Robe’s spectacular live shows set against a magnificent backdrop provided a huge enticement for visitors every hour. The Czechs have clearly been busy creating the MegaPointe all-in-one fixture, which seems destined to become an industry standard moving head. In addition, the Tarrantula LED beam, wash and effects luminaire together with the RoboSpot range of remote follow spot solutions and IP65-rated ParFect products were also showcased for the first time. Chauvet presented two IP65-rated LED fixtures in the form of the Maverick Storm 1 Wash, Strike P38 white LED blinder/ strobe and Colorado Solo Batten RGBAW LED batten. The Element 2 console incorporating Eos software captured the visitor’s eye on the ETC booth, with the ETCpad tablet accessory, ColorSource family and architectural Irideon WLZ wash light all in close attendance.

Juan Jose Vila from Workpro with the new LightShark

DJ Digger rocks Messe during DiGiCo’s Wednesday evening booth party

M2GO HD, M2PC, M-Touch, M-Play, M-DMX, M-Sync and M-PC on its booth for the ﬁrst time. A plethora of new lighting options from the likes of Altman, Avolites, Ayrton, Chroma-Q, GDS, GLP, LSC, MDG and Robert Juliat also beamed their attention on visitors. Ever present at MusikMesse following its inception in 1979, German manufacturer HK Audio opted not to exhibit in 2017. It will have come as some relief, therefore, that this

The Robe booth in hall 3.0

Dave Haydon and Robin Whittaker established brand decided to return in 2018 with a small exhibit in Hall 4.2 together with a much larger presence in Hall 3.1. ‘Following a little break we took last year, we are rolling out our largest product launch at this year’s Prolight + Sound,’ commented CEO, Nils Stamer. While the Cosmo integrative line array system provided perhaps the main focus, the Contour X point source flagship, C SUB subwoofer series and EN 54-24:2008-certified Vortis 2 series all vied for attention. ‘We had to exhibit for this reason and assess the show’s credentials. We’ve met up with many old customers and received encouraging feedback on the new products.’ Hoisted above its eye-catching booth design, d&b audiotechnik unveiled its GSL large-format line array alongside the J-, Y- and V-series cabinets. Other new line arrays including dBTechnologies’ Vio L212, Crest Audio’s Versarry Pro and Vue’s e-class demanded closer inspection. RCF traditionally promotes all its new products at PL+S, and this year’s fair was no different with new active extensions to the HDL family of enclosures including sub bass models. In terms of innovation, the TTL-4a and TTP-4a stood out as the flexible wooden cabinets may share the same footprint, but provide varying line- and point-source characteristics, respectively. The manufacturer also showcased new additions

Elisabeth Kuenast and Mr Kuenast celebrating 90 years of Microtech Gefell

Adamson’s Marc Weber with the latest IS10P speaker system

Grant Roomes and Peter Klotz in hall 4.1

HK Audio’s Nils Stamer and Stefan Fischer launch Cosmo

Three new models of QuickQ consoles were being demonstrated by ChamSys, with intuitive smart-phonelike interfaces and large 9.7-inch touchscreens that were clearly being appreciated. Other user-friendly features including easy-to-understand buttons and faders, a simple colour selection menu, readily accessible intensity control tools and fingertip controlled zooming and scrolling earned significant praise. Familiar to the audio world for its Neo loudspeakers, BlueLine digital signal processors and Arion line arrays, Spanish brand Work had firmly located itself in the lighting hall for this year’s exhibition to highlight the LightShark cross-platform lighting control system. Capable of creating a multiscreen control system Integrating LightShark engine software, both the LS-Core and the LS-1 consoles provide up to eight DMX universes from a web-based GUI that can connect up to three devices simultaneously. Following the recent acquisition of the M-Series range of lighting controllers, Elation was showing the M6, M1HD,

Markus Falter and Jürgen Eicker had a successful show with the newly launched Pariz system

Gaby van der Blom and Krishna Singh from TW Audio with the new Vera20

Kling & Freitag’s Jurgen Freitag introducing the Spectra series

to its mixer series with the Pro DSP FX, F10XR, F12XR and F16XR formats providing presets and recording options. Other notable loudspeaker launches at the show included Adamson’s IS7P and IS10P point source cabinets, FBT’s unique Horizon system and K-array’s Event line, while a variety of Adam Hall equipment from LD Systems, Cameo and Gravity made debuts at the show. Meanwhile, Outline Audio’s Superfly compact line source system will ‘set new standards in performance’ for a speaker of its dimensions, according to the Brescia-based innovator. KV2 Audio reported significant interest in its large-format VHD 2.0 and 5.0 loudspeaker platforms as sales director Dave Croxton confirmed: ‘With demonstrations, production companies are coming to realise that there are many cost benefits associated with our point source technology in addition to improved audio coverage.’ In addition to promoting the ISE-launched Rivage PM7 digital console, Yamaha unveiled a series of networkable speakers. The powered DZR and DXS-XLF together with the passive CZR and CXS-XLF models drew crowds to one corner of the booth, while the Nexo exhibit on the other demonstrated Geo S and Geo M cabinets alongside the latest NXAMP 4x2 and 4x1 Mk2 amplifiers.

May–June 2018 PRO AVL ASIA 127

BUSINESS: SHOW REVIEW Low-frequency extensions were catered for by FunktionOne with the new F124 bass enclosure making its European debut, Coda Audio’s U series of multipurpose subwoofers and Next-proaudio’s LAs418A active reflex sub bass. Long-term advocates of future proofing technology with software and firmware updates, serial mixer DiGiCo was once again furthering its credentials. This year the manufacturer reassured its legions of engineers and production companies by demonstrating the new Quantum 7 platform, which is capable of expanding an SD7 console to over 600 channels of processing in 96kHz operation. In addition to a 32-bit DAC and the ISE-launched 4REA4 digital audio networking system, DiGiCo maintained its networking credentials with other manufacturers, including L-Acoustics with L-ISA Source Control and d&b audiotechnik with OSC protocol for the DS100 Soundscape.

Celestion MD Nigel Wood with the Axi 2050 Axiperiodic driver

The scaled-back EV booth simply showcased an IPX ampliﬁer and an X-LIne Advance line array module

Fohhn’s Uli Haug and Jochen Schwarz enjoy meeting their German customers and friends

Dave Webster from Coda models the new U series of subwoofers

rainfall that marred the final day of the exhibition, as well as the Agora outdoor area and the outdoor F1 at Hall 1. The numerous manufacturers that participated were each given a 10-minute slot to promote the speaker system of their preference. Adding another dimension to the show floor exhibits for the second year running, the Frankfurt Festhalle was the setting for the PRG LEA stage and its Highlight Show, utilising an Alcons Audio’s LR28 loudspeaker system. Upon publication of the final attendance for the 2018 exhibition, Messe Frankfurt was keen to highlight the fact that public-transport strikes and flight cancellations may have played a role in these statistics. However, its continued insistence for kick-starting PL+S one day ahead of MusikMesse was a mistake, ensuring the opening day visitor numbers were low. ‘We enjoy coming to this show so that we can interact with our many German customers,’ explained Fohhn’s sales and marketing director, Uli Haug. ‘Germany continues to be our single biggest market.’ Such an observation possibly confirms why the likes of similar producers including Community, Renkus-Heinz and Tannoy have all opted out over the years. While the volume of new launches across the show floor can be seen as a vote of confidence in the event, it also brings its own level of pressure. The manufacturing community has backed PL+S through the timing of these launches; now the organiser has to deliver the high-level, international crowd that these products deserve. ‘The positive echo from the exhibitors of the two fairs and the high visitor standard indicate that we are on the right track,’ commented a member of the executive board of Messe Frankfurt, Detlef Braun. Having also announced that the two fairs would no longer overlap, further seismic hall movement was also confirmed. Whether consultation with PL+S’ exhibitors had been made cannot be confirmed but the announcement that the main audio hall was being relocated back to Hall 8.0 took many by surprise. Although the professional audio and lighting sectors continue to experience dynamic changes as a result of disruptive technologies and aggressive pricing, the exhibitors seemingly desire consolidation and stability at this exhibition.

The Antelope Audio booth encouraged visitors to stay and chat CMI Music & Audio’s Graeme Mitchell with Peter Trojkovic Celebrating its 50th anniversary, Cadac launched its smallest and most affordable console to date in the CDC series with the CDC ﬁve together with v5 CDC Console Software. The GUI includes a swipe-down feature on its 23.5-inch touchscreen, while the control surface features 16 faders, with dual banks of user-assignable buttons to offer a total of 40. In addition to a medium-format I/O stagebox, it was announced that the current CDC seven and CDC eight consoles are being replaced by the newly launched CDC seven-s. Meanwhile, a new software release from Stage Tec enhances the functionality of the Aurus and Crescendo consoles, while Avid showcased its newly expanded S6L desk. Outside of the enclosure, new drivers from Florence were evidently on display for which Powersoft highlighted its M-Force appeal, while B&C extended its coaxial range with the 4CNX88 and added two further 4-inch LF drivers for compact 2-way cabinet designs with the 4NDF34 and 4NDS34 woofers. Following the 2017 launch of an 18-inch LF transducer in the LEX series, Beyma added two new subwoofers in the form of the 21LEX1600Nd and 15LEX1600Nd models together with three new compression drivers and a new

Waring Hayes and Richard Fleming from XTA enjoying the show

128 PRO AVL ASIA May–June 2018

family of transducers incorporating Maltcross technology. While extending its 6-inch mid-range drivers with the 6RS140 and 6PR160, Faital Pro was eager to promote its 18XL2000 super woofer. Celestion added the CDX14-3040 HF compression driver together with the 1230F and 1540HD woofers to its CF range. Following on from last year, Hall 4.1 focused on products and technologies serving the audio, DJ and recording segments. Here, the latest networkable audio interfaces from Focusrite and Steinberg were on display, while RME heralded the birth of its Digiface Dante and AVB devices. Set against higher SPLs under the low ceiling, the API Legacy AXS console looked strangely out of place amongst its neighbouring booths hosting karaoke, PC recording equipment and turntable mixers. Pointing a way forward for future diversity and growth perhaps, PL+S can take heart from the success of the educational forums and demonstrations that it promotes beyond the show ﬂoor. The programme of the Immersive Technology Forum presented lectures for potential 3D audio applications in theatres, the creative use of virtual and augmented reality and other technologies trending in the events sector. Outdoors, several exhibitors were represented with their own presentation areas for immersive sound. d&b audiotechnik demonstrated Soundscape, while Alcons Audio and Astro Spacial Audio presented the Pro Ribbon Immersive Experience. Equipped with a DIY 3D sound system including 31 loudspeakers and a vibrating ﬂoor, the Klangdome (sound dome) offered a new dimension to the outdoor exhibition area. In addition to showcasing the new L-ISA Island on its booth, L-Acoustics presented L-ISA Immersive Sound Art technology and lectures on the P1 networked digital audio processor platform. Large-scale sound systems were demonstrated at the Live Sound Arena under real-life conditions such as the persistent

The Stage Tec team were kept busy

Powersoft’s president Carlo Lastrucci and Deva director Karl Kahlau with the X-series amplifers

On the JTS booth, Dowson Yu and Cherry Yu with distributor, Herman Crins of Monacor

BUSINESS: SHOW REVIEW

The view from the floor feel somewhat nostalgic as this show has really helped our distribution business over the years. Therefore, I am very sad to see this show winding down, especially on the MI side. It is still an exciting show in some areas. For example, I’m amazed with the amount of new audio products that still keep hitting the market at a time when you think you’ve seen it all. I guess that ownership changes create new scenarios, but I am excited by the way that audio embraces new technology.’ Mathias von Heydekampf, RME: ‘I really had to come as this is my 29th consecutive Musikmesse and I always enjoy meeting familiar people. In addition, we are launching two unbelievable new products with Digiface Dante that also comes with 120 channels of MADI and doubles as a mixer at an attractive price point. Together with Digiface AVB, we are providing audio interfaces that allow networking. When I used to exhibit here in the same hall 15 to 20 years ago with Telex EVI, the fair used to be open on a Sunday. Many other exhibitors didn’t like this fifth day, but we used to attract end users and crowds with a variety of games and competitions. When the organisers decided to stop the Sunday, I told them that they would regret it as many end users used to bus down from places like Hamburg on that day to interact with the instruments and technology. They would get excited before rushing to stores the following week to buy the gear they’d liked, but that went away unfortunately.’ Karl Christmas, Yamaha Professional: ‘It’s been a very intense show for Yamaha showing the PM7 mixing console together with our ranges of powered and passive speakers in addition to the line array technology and amplifiers being shown by our sister company, Nexo. We’ve met many people from Europe, Asia and the Middle East, so for us it is has been a very positive show.’ Andre Correia, Next-proaudio: ‘We’ve been focusing on promoting both our touring and installation products including the Matrix speakers and LAs418A active, networkable, double 18-inch sub bass. PL+S remains a professional show, which is quite close to ISE and, in comparison with previous years, it is a little quieter. However, it has been a fantastic four days for us as we have achieved the goals that we set out prior to coming here.’

Markus Jahnel, Adam Hall Group: ‘It has been a good show for us and we are satisfied with the general number of visitors as we are doing more business these days in pro audio and lighting. It’s been particularly good for rental. Unfortunately, I feel that the effects of a declining Musikmesse has made a significant impact on PL+S. Traditionally, we have always been strong in retail, but this show is now missing retailers – especially the smaller ones. Although we’ve met fewer customers from the UK, we have recorded strong numbers from Russia, Turkey, Asia, Eastern Europe and Africa. The launch of our new Zenit offerings from Cameo such as the B60 and W600 were well accepted with a backing of healthy orders. In addition, the Curv and Maui products from LD Systems attracted great interest, while Gravity stands and hardware continue to gain increasing acceptance. I would like to criticise the new show concept for next year with the move to Hall 8.0 as our current location in Hall 3.1 lies above the busy lighting floor. But we’ll definitely be here again next year.’ Graeme Mitchell, CMI Music & Audio (Australia): ‘I’ve been coming here since the early 1990s and have always found it to be a very good show for doing business. I

Gianluca Turra, Faital Pro: ‘From my point of view the show has been successful. Although we’ve met a smaller number of visitors, they have been of a higher quality. Rather than meeting people for the ﬁrst time, we now hold meetings with familiar faces and with professionals who seek us out as they are familiar with the brand now. Ultimately, this is very good for us as we hold fewer but more meaningful meetings.’ Fabrizio Milan, Tasker: ‘The exhibition is strategically smaller than some years ago but for us it is important to concentrate on Frankfurt and ISE as we meet all our international customers. In addition to presenting cables for outdoor applications, we are highlighting silicon cables for evacuation applications, as this is currently receiving the most interest of all our products.’

500S series software which includes a new look that is more adaptable for daylight and lowlight conditions. We’ve also introduced quite a significant upgrade to the automation of the calculations necessary to make the imaging work called StageSpace. You import a dimension drawing of the stage or whole auditorium and you drop the loudspeakers onto there and then you drop the zones onto there that you want them to focus on in terms of imaging either for surround immersion or vocal spatial reinforcement and then it will auto calculate those for you. What differentiates it from other offerings is the fact that we have adaptable zone objects, so you can manually edit the parameters.’ André Zeugner, ADAM Audio: ‘The first day in this hall (4.1) was actually good – we met a lot of visitors, dealers and distributors. The new T5B and the T7B monitors have been well received but I thought overall there were probably fewer people here to be honest. Compared to last year the noise level is okay, because two years ago we had a real problem with some of the DJ booths.’ Dan Page, DiGiGrid: ‘Although it’s quieter than usual, this year’s been surprisingly good. Quality over quantity maybe.’ Rune Slot, DPA: ‘This year we’re promoting Core Technology and as such we’ve been really busy. We’re fortunate to be located on a corner with our own café and meeting area tucked behind the stage here as this has definitely contributed to our success. But the hall in general though is super noisy. Although you become accustomed to it throughout the day, it’s only when you get back to the hotel and try to go to sleep when you know you are suffering from tinnitus.’ Hans Stucken, AV Stumpfl: ‘There are lot of different voices regarding the development of this trade show but, from our point of view, it is per fect for meeting different kinds of customers who are vital to both our projection screen and media server developments. We’ve had a lot of very good feedback with regards to the latest innovations like our T32 Shift projection screen leg, so we’re looking forward to next year.’ Jan Jares, KV2 Audio: ‘Unfortunately, it looks like the show is dying and you can see that some of the big manufacturers aren’t participating this year. We also used to have four demo slots, but now we have three. It seems like everything is shrinking year-on-year. I would really like to see this show grow bigger again and I have no idea whether this reflects on our industry in general or the show itself.’ Liam Winter, Absen Europe: ‘There have been peak times but you cannot compare this to ISE in terms of footfall. However, I would say that the quality of visitors has been great. The visitors are specialists from professional companies who are coming here with an agenda. I’ve met a lot more senior level people and decision makers than perhaps I would typically and they’re coming to me with specific buying needs.’

2018 Dates:

10 – 13 April

Eugene Chen, Mipro: ‘Since we started to exhibit here in 1996, we have witnessed plenty of changes over the past 22 years. Like many others, we feel the attendance has dropped, but our most important customers and partners continue to come here so it’s a show we will continue to do in addition to ISE.’

2019 Dates:

2 – 5 April

Venue:

Frankfurt Messe

Total exhibitors:

1,803

Attendance:

90,000

Dave Haydon, Out Board: ‘TiMax is a long-established and evolved product and we’ve been demonstrating the new

Contact:

pls.messefrankfurt.com

May–June 2018 PRO AVL ASIA 129

BUSINESS: SHOW REVIEW

InfoComm China 2018 Going green with Tim Wu from Relacart

Avixa CEO David Labuskes opens InfoComm China 2018

The crowds were out in force for InfoComm’s Beijing tradeshow and seminar event this year. So did the show live up to its high expectations? THE SUN WAS OUT, THE SKY WAS BLUE, AND INFOCOMM China 2018 was a resounding success from the moment the doors of the China National Convention Center opened to admit a crowd eager to view the latest offerings from the world of A/V and systems integration. An extra 50 exhibitors meant that two more halls had been added this year, one of which – Hall E5 – was an adjunct to the popular Hall E, home to a plethora of international brands and favoured by most of the pro audio contingent. Meanwhile, the InfoComm Summit seminar programme offered 60 sessions over the three days, with hot topics around the seminar and tradeshow this year including the Internet of Things, Big Data, Artiﬁcial Intelligence and AR/VR.

Show organiser InfoComm Asia was promoting two new planned tradeshows, in Chengdu this September and Bangkok in 2019, and many people at InfoComm China were testing the waters for a sign of how the new shows were shaping up. And if the Beijing event was anything to go by, the signs are positive for the organisation’s expansion in the region. The crush of people pouring in at 9am on the ﬁrst day was a welcome surprise to some. ‘I thought there would be a quieter start, but immediately it was crowded and the visitors we were seeing were all good ones,’ said Philippe Vitali from Analog Way, its ﬁrst participation in a Chinese show for several years underlining a new commitment to the Asian market after time spent consolidating business in Europe and the US. Sophisticated systems displays were the order of the day, with QSC – present alongside Shure on the stand of distributor, PCI – demonstrating its airport solution incorporating the new QSC Intel-based Q-Sys Core 5200. ‘Many visitors have shown interest in this as it’s a total solution for the largest of airports and other infrastructure applications,’ said QSC’s Sam J Zhao.

130 PRO AVL ASIA May–June 2018

QSC’s Sam J Zhao

Tico’s Bai Lu and friend

Shure Asia’s Andy Chan with the Microﬂex Complete

Teng Shaokai with the AudioTechnica ATUC-50 infrared digital discussion system

EZPro had brand representatives on hand at the show ‘We always aim to implement our technology in all areas and, at this show, we have presented some very advanced technology,’ said Harman China’s David Lu, who felt that the show was bigger and better this year. ‘The booth has been very crowded and we’re confident about the results participation here will give us.’ ‘Integrators are coming to our booth to discuss solutions for their real-world projects, and we have demo areas on the stand where we can show them how the systems work and how they fit into these projects,’ said Andy Chan from Shure Asia, highlighting the Microflex Complete integrated audio system. ‘We’ve shown this at ISE already and this is the first time we’re showing it here in Asia. It’s created a lot of attention here.’ And while many of the new products were mainly Asian debuts of ISE launches, there were some firsts on the show floor. Alongside the mixing consoles for the first time, Yamaha was showing a range of Yamaha Unified Communications (UC) solutions, including the CS-700 video sound collaboration system for huddle rooms. ‘The two ranges used to be shown on separate stands, and InfoComm China is the first time we have shown the products side by side,’ said Yamaha’s Motome Tanaka. Across the hall, Audio-Technica was showing the new production model of the ATUC-50 infrared digital discussion system. ‘Infrared is very secure, and the system provides flexibility and ease of moving units around,’ said Teng Shaokai from Audio-Technica (SEA). EZPro held the Asian launch of the Televic D-Cerno SL. ‘We are presenting two solutions here, one for meeting rooms

YC from JTC, Alesis and Lynx distributor Liyun Organisation

Alex Cai from Xilica with a very small matrix, the Solaro QR

BUSINESS: SHOW REVIEW and one for theme parks,’ said EZPro’s May Hong. ‘The show is getting bigger and attracting more and more systems integrators. It’s our most important show in China and the best suited to our brands.’ Alongside Televic, EZPro was showing products from Symetrix, Powersoft, Apart and Allen & Heath, and was well supported by delegates from the manufacturers. Xilica was presenting the new Solaro QR and FR1 units offering dual core processing in compact and rackmount versions, respectively. ‘The response has been good; the Chinese market seems to prefer the rackmount version whereas in the west they prefer the smaller one,’ said Alex Cai from Xilica China, who also commented on the professional level of visitors he’d been meeting this year. Mr Cai’s sentiment was echoed across the ﬂoor as both the Chinese integration market and InfoComm China continue to mature. ‘The show is much better than last year, with people asking much more professional questions,’ said Sennheiser’s Crystal Wu. ‘We are quite a new player in this segment, so we have been educating the market, and now people know our products such as the ceiling mics and tour guide systems, and are able to ask us about them.’

Rightway Audio out in force

The Sennheiser team ‘I’ve been mainly seeing building contractors and consultants; lots of decision makers and technical people,’ said YC from the Liyun Organisation, distributor for JTS, Alesis and Lynx. ‘People are looking for speciﬁc products and asking very good questions about them. We’ve been doing the show for ﬁve years and every year it gets better.’ ‘Apart from systems integrators, we are also seeing more end users this year, and overall there has been more visitors,’ said Bai Lu from Tico Digital Group, showing beyerdynamic, Biamp, Renkus-Heinz and Soundtube alongside Canon, Panasonic, Samsung and Hitachi. Andy Chan from Shure Asia noticed the show was becoming more international. ‘It is getting bigger and bigger, and we have more variety of visitors, from outside of China and a few westerners too,’ he said. ‘We are seeing all levels of people, from the technical people through to management. We are also meeting existing customers and hopefully some new ones.’ One thing is clear though: many exhibitors believe the days of the more specialised tradeshow are over as systems integration leads the way. ‘Audio is getting more integrated now, so shows that only cater for pro audio and lighting will not be able to compete with something like InfoComm in the future,’ said Relacart’s Tim Wu. ‘As well as integrators and contractors, I’ve been seeing some pro sound customers who are diversifying into this market.’

‘Video people also need to see audio products for their projects,’ echoed Su Xiaojie from Budee, which was showing brands including Barefoot and Quested. ‘The system control and video part of InfoComm is very important, and the audio products we distribute are maybe of secondary interest to some of the visitors. However, you cannot separate audio and video, and we’ve had quite a few potential customers who come and see us. This is the only show we’re doing in Beijing now; we’ve decided to stick with InfoComm China.’ And with attendance up by 6,000 on 2017 – a growth of 20% – he is not alone.

Top Plot was demoing a Nexo M10 system outside Hall P

2018 Dates:

11 – 13 April

2019 Dates:

10 – 12 April

Venue:

China National Convention Center (Beijing)

Total exhibitors: 348 Attendance:

38,809

Contact:

www.infocomm-china.com

1/2 Horizontal 1/2 Horizontal 1/2 1/2 PAGE

66 PRO AUDIO ASIA November–December 2016

July–August 2017 PRO AUDIO March–April 2017 PRO AUDIO ASIA 101 May–June 129 January–February 2018 PRO AVLASIA ASIA 109 83 March–April 53 May–June 2018 PRO AVL ASIA 131

BUSINESS: R&D

PMC’s right result

PMC is banking on its result6 monitors to break new ground in broadcast, radio and education

PMC has ventured into new marketing and R&D territory with the introduction of result6, its bold answer to an entry-level active speaker. John Leonidou reports HOW DOES A COMPANY RENOWNED FOR PRODUCING high-quality speakers enter a new market with a less expensive product without watering down its legacy or compromising on key components? That was the challenge recently faced by PMC following the unveiling of its latest entry-level, 6-inch active studio monitor, result6. ‘We wanted a new design to enter new markets and to produce something that had the same PMC sound but would be accessible to more people by being more affordable,’ says R&D manager, Oliver Thomas, who headed the 2-year project to design an active speaker that would be half the price of a monitor from PMC’s twotwo series. ‘That is really what we were targeting. The tricky bit was figuring out how to do that without compromising.’ All PMC products are manufactured in the UK, with a new 25,000m2 factory planned for construction next to the PMC headquarters in Biggleswade in the next few years. Company founder Peter Thomas and his team have always prided themselves on their ability to offer the proprietary bass-loading system technology – or Advanced Transmission Line (ATL) – in their speakers. Adapting what is a very costly design approach to the cheaper result6 was one of the big hurdles that they had to overcome. ‘What we essentially did was invest a lot of money in R&D and put together a much bigger team, a lot more software and add a lot more facilities,’ says Peter Thomas. ‘You start looking at all the new techniques to keep the quality but at the same time seek to reduce costs. We’ve opened up a whole new area of customers who like PMC but see it as being a bit out of their price range.’ Oliver Thomas and his team immediately went to work going through each stage of the design and soon concluded that they would need to make the electronics simple, essentially including just the bare minimum. But that’s not to say that everything was compromised. result6 features a 27mm soft-dome tweeter with dispersion grille and a mid/bass unit composed of a gloss doped natural fibre, both of which are custom-designed. Another feature is the finned HF driver surround on the result6 known

132 PRO AVL ASIA May–June 2018

Peter Thomas and his son Oliver say result6 has taken PMC into uncharted territory as the D-Fin. This prevents boundary effect waves from disrupting the direct signal emanating from the tweeter. ‘The tweeters are similar to the ones in the twotwo.6,’ comments Oliver Thomas, singling out the design of the tweeter plates as the toughest part of the R&D phase. ‘There are a few changes that we had to make to the diaphragm assembly, such as the fabric that is used as well as the voice coil. We can’t get it as light as we can on the twotwos because to get it lighter costs exponentially more.’ The quality of diaphragm material impacts on the off-axis per formance, which has been compensated for with an elaborate plate design. The design team also wanted to avoid edge reﬂections on the cabinets that are detrimental to the on-axis frequency response. The downside to that was again the higher manufacturing cost, so the solution was to make the cabinet more uniform, and at the same time cheaper. The

D-Fins come into play here, eradicating the cabinet edge effects. ‘If you imagine a soundwave coming out of the tweeter and travelling along the cabinet, as it reaches the edge of the cabinet, you get a reflection,’ explains Oliver Thomas. ‘You’ve got this different acoustic impedance because the sound is travelling along a solid baffle. It then suddenly sees free air, gets a slight reflection and is blocked by these edges. The tricky part is doing lots of iterations and simulations to ensure that you’ve designed something that, although you’re blocking edge reflection, doesn’t change the rest of the characteristic of the tweeter.’ That meant going through a phase of simulations to try out different designs and prototyping, but all were worth the effort. ‘The exciting thing is that you learn new things from such designs,’ adds Peter Thomas. In terms of bringing something new to the design, the team drew on Oliver Thomas’ experience with F1 team Red Bull Racing, where he had worked on electrical hardware. Measuring techniques like the ones used for non-contact displacement sensors – pointing a laser at something to measure the distance – were put to good use in the design of result6. ‘We can now point the laser at the drive units to know within microns how the drive is mechanically moving in

The production phase from Oliver Thomas and his team required some meticulous – and often laser-focused – technology

BUSINESS: R&D relation to its acoustic outline,â&#x20AC;&#x2122; notes Oliver Thomas. â&#x20AC;&#x2DC;But the best takeaway was looking at the type of engineering and design process for a company making products that will be used in a pretty harsh environment and going through the steps of validation and testing.â&#x20AC;&#x2122; The PMC sales and marketing team has already set its sights on the broadcast sector in Asia and Australasia and is banking on the result6 to make an impact in the region. â&#x20AC;&#x2DC;We will be looking at China quite aggressively, and I would expect the result6 to open a new market for us there,â&#x20AC;&#x2122; says international sales director, Miles Roberts, adding that unlike its European and American competitors, PMC is in the process of obtaining China CCC CertiďŹ cation â&#x20AC;&#x201C; a mandatory product certiďŹ cation system with the aim of protecting consumer security â&#x20AC;&#x201C; for result6. Not having a CCC can reportedly create import restrictions but PMC claims to have the edge in the country, having obtained the certiďŹ cation for previous products. â&#x20AC;&#x2DC;China is working out for us quite well,â&#x20AC;&#x2122; continues Mr Roberts. â&#x20AC;&#x2DC;We are expecting some signiďŹ cant movement with the result6. We already have pretty large pre-orders from DMT, our China and Hong Kong distributor, so we are just waiting for the CCC approval to come through to ship them.â&#x20AC;&#x2122; The big plans for Asia do not end there, with PMC also using result6 to tap into education for radio and television production technologies and classical recording. â&#x20AC;&#x2DC;We were already doing installations at around eight conservatoiretype, educational establishments,â&#x20AC;&#x2122; continues Mr Roberts. â&#x20AC;&#x2DC;I see result6 as the point where the students can step into a brand like PMC. It is reachable and affordable as opposed to our other products. The result6 will give students that quality experience they will face in the real world.â&#x20AC;&#x2122; It has been a long and rocky road for PMC and result6 but, for Peter Thomas and his team, it was worth the wait and struggle. â&#x20AC;&#x2DC;In business, you allocate the R&D cost to each product by working out what the lifetime will be,â&#x20AC;&#x2122; explains Peter Thomas. â&#x20AC;&#x2DC;With the twotwos, the numbers that are

PAGE

PMCâ&#x20AC;&#x2122;s international sales director Miles Roberts expects big things from result6 in China

going to be put to market are much smaller than with a product of result6â&#x20AC;&#x2122;s price. Although the R&D cost is higher, the amount per speaker isnâ&#x20AC;&#x2122;t.â&#x20AC;&#x2122; Although the result6 will not have the exact same sound dynamics as its predecessors, it will share the one common trait that Peter Thomas â&#x20AC;&#x201C; who started up the company back in 1991 with his partner Adrian Loader â&#x20AC;&#x201C; always

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demands from his team. â&#x20AC;&#x2DC;We always strive for accuracy and neutrality,â&#x20AC;&#x2122; he says. â&#x20AC;&#x2DC;Thatâ&#x20AC;&#x2122;s the goal with all of our products. I suppose it is a little bit like high-resolution television. The detail gets better with the more money that is spent. If you listen to the result6 and put them against the twotwos, they will sound very similar in balance when you switch between them, which is important, but the difference will be that the twotwos will have more resolution, detail and be more analytical. And they should, because they cost a lot more.â&#x20AC;&#x2122; The result6 has broadened horizons for PMC with imminent and similar projects in the pipeline set to once again excite Peter Thomas and his team. www.pmc-speakers.com

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The industry is changing and so have we www.proavl-asia.com Mayâ&#x20AC;&#x201C;June 2018 PRO AVL ASIA 133

BUSINESS: ANALYSIS

What’s next for Solid State Logic? Pro AVL Asia discusses the future of SSL with James Gordon following its recent acquisition by Audiotonix THE SUDDEN EMERGENCE OF AUDIOTONIX in the industry in early 2014 came as a surprise to many. Three distinct console brands that each brought their own rich heritage and culture were combined under a single entity. It had the potential to send all three along a trajectory that has sadly been witnessed many times in pro audio. Four years later, and Pro AVL Asia is heartened to realise that it was never a fair assumption. Now, the group has gone one step further by adding heavyweight Solid State Logic (SSL) into the fold and raising yet more questions about the future of such an iconic brand. But passionate SSL enthusiasts and owners need not worry, promises Audiotonix group CEO, James Gordon. Part of why they should feel safe about the future is that the group has been established with the aim of nurturing and protecting each company’s heritage from the outset. ‘It was designed initially from our perspective as a place where DiGiCo could be safe,’ Mr Gordon explains. ‘In our industry

James Gordon

We like premium brands that have got history and are a key part of our industry. With SSL you can’t get much bigger. when a lot of companies reach a certain size, they get bought by a bigger company, and when that happens, generally, you tend to see the culture of the business change, or the people that started it leave. In most cases that is not a particularly positive thing for the brand. ‘We didn’t want that to happen to DiGiCo but you don’t really have many options. You either blindly go on through life imagining it won’t, or you try and take control of the situation.’ The logic is sound. Make yourself big enough that you can’t easily be swallowed by the competition – safety in numbers so to speak. ‘Having done it, all three brands are in a stronger place than they were,’ he elaborates. Having then also caught wind of a possible sale over at SSL in early 2017, the opportunity for Audiotonix to add another complementary brand to its portfolio was too good to miss. ‘Frankly speaking, we like premium brands that have got history and are a key part of our industry. With SSL you can’t get much bigger,’ says Mr Gordon.

134 PRO AVL ASIA May–June 2018

‘We went and met some of the team and they’re very passionate about their brand, their technology, what they’re doing and their customer base, which is very important for us. But we could also deﬁnitely see how we could strengthen and help them.’ It’s more than just safety in numbers. The sharing of engineering resources and know-how between the various companies presents numerous efﬁciencies that can help bring new ideas and technologies to light. ‘The cost of entry into our industry is more money, R&D is not cheap anymore,’ says Mr Gordon. ‘We’ve got to be innovative and drive forward, and that’s a major cost base for anyone. So having the scale of a larger company behind SSL pays dividends. They’ve also had a lot of product ideas but didn’t necessarily have the ability to build them at the right price or maybe the technology know-how of certain elements to be able to bring them to market. But across the group we’ve got a huge amount of manufacturer expertise.’

Of course, the danger here is a risk that over time the brands will coalesce into a single homogenous entity. This is particularly prevalent when each has products that in some way compete with the other group partners. ‘There is an element of crossover with all of the brands,’ acknowledges Mr Gordon. ‘Obviously with SSL there’s crossover with Calrec on the broadcast side. And if you look at it from 10,000 feet that’s what you see, but if you go into a little bit more detail, actually the end customers are different, whether that’s geographically or what the market’s doing. ‘In reality, rental companies tend to buy more than one make of mixing console anyway, many have got three or four different brands,’ he adds. ‘Having A&H and DiGiCo together has meant that some of the strong DiGiCo partners have bought A&Hs for their smaller projects and I’m sure that some of our live sound customers will see value by having invested in both SSL and DiGiCo. The plan is not to stop them competing, and it’s important for them to keep their own identities. Furthermore, both the workﬂows and buying experience is very different. The culture of the brand is also a big part of why people buy it and love using it and we’re trying to preserve that.’ Audiotonix plans to avoid such confusion by ensuring the customer-facing elements of the business remain the same. SSL will continue to operate as its own distinct brand. Sales and distribution channels will remain separate but behind the scenes is where the magic will happen. ‘All of this

was to protect the brands rather than put them under one umbrella and make them something different, which I don’t think is right for our industry,’ he explains. ‘From a group perspective, the sales guys, the support guys, the marketing teams – they’re all very much brand specific. We’ll stick with completely separate sales routes to each market and stay with the best distributors for that; we haven’t done any consolidation of our channels and don’t intend to. But things in the background – manufacturing, purchasing and, to a certain extent, bits of R&D will be combined as we’re all having to deal with similar challenges. Having the knowledge base to do that is great.’ As an example, Mr Gordon highlights SSL’s Dante expertise, having been one of the first companies to adopt high channel-count Dante. ‘At the moment Allen & Heath is just starting to expand its Dante integration because of its install range. So almost immediately SSL was able to add value back to the group by knowledge-sharing on that.’ From a conversation that began a little over a year ago, the pace at which SSL has been brought into the mix has been impressive. But this has only been made possible by a change of ownership taking place in the background. The group parted ways with investment company Elektra Partners (now Epiris) at the beginning of 2017 and entered into a new phase with European company, Astorg. ‘One of the reasons that we made the change from Epiris to Astorg was that as a team we’d reached a point where we were comfortable doing M&A,’ says Mr Gordon. ‘It was a big risk when we carried out the merger and created Audiotonix. We’d never taken on another brand and I think it took us a few years to feel comfortable that we hadn’t messed it up completely. So we were looking at how we could make the group better and bring in more quality. Timing-wise, SSL arrived just at the right moment.’ If you thought that four high-profile console brands makes you a big enough fish not to get swallowed, Mr Gordon is not so sure. ‘Let’s see where everything goes in the next six to nine months; I think it’s going to be fun,’ he says with a smile. ‘Part of the move from Epiris to Astorg was that we wanted to go and do further acquisitions, which meant that we needed new funding. Each time we’ve had investment it’s been good for them and good for us and that’s because we’ve been clear from day one about what our aspirations are and what we want to see happen to the company. You stick to the plan.’ www.audiotonix.com www.solidstatelogic.com

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